L^<visiofi  1 

, H35 

V. 


Srctloi 


THE  HARVARD  ORIENTAL  SERIES 


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Digitized  by  the  Internet  Archive 
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https://archive.org/details/rajacekharaskarpOOraja 


HARVARD 


ORIENTAL  SERIES 


EDITED 

WITH  THE  COOPERATION  OF  VARIOUS  SCHOLARS 
BY 

CHARLES  ROCKWELL  LANMAN 

Professor  of  Sanskrit  in  Harvard  University 


VOLUME  IV. 


CAMBRIDGE,  MASS. 

PUBLISHED  BY  HARVARD  UNIVERSITY 


NOV  "i'’ 

■ A 

■ 'r  - i i ‘ \ 

/ _ _ . _ 

RAJA-gEKHARA’S  KARPURA-MANJARI 


A DRAMA  BY  THE  INDIAN  POET  RAJAgEKHARA 

(about  900  A.D.) 


CRITICALLY  EDITED  IN  THE  ORIGINAL  PRAKRIT,  WITH  A GLOSSARIAL 
INDEX,  AND  AN  ESSAY  ON  THE  LIFE  AND  WRITINGS 
OF  THE  POET 

BY 

STEN  KONOW 

OF  THE  UNIVERSITY  OF  CHRISTIANIA,  NORWAY 


AND  TRANSLATED  INTO  ENGLISH  WITH  NOTES 
BY 


CHARLES  ROCKWELL  LANMAN 

Honorary  Member  of  the  Asiatic  Society  of  Bengal  (Calcutta) 
Foreign  Member  of  the  Royal  Bohemian  Society  of  Sciences  (Prague) 


CAMBRIDGE,  MASS. 

PUBLISHED  BY  HARVARD  UNIVERSITY 

1901 


Copyright,  IJKX), 

By  harvard  UNIVERSITY. 


Nagari  electrotype  plates  hy  W.  Brvgulin,  Leipzig. 
The  remaining  plates  by  J.  S.  Cushing  & Co.,  Norwood. 


Printed  from  electrotype  plates  at 
Eije  Norbjooli  Press, 
Norwood,  Mass.,  U.S.A. 


First  issue,  1901,  One  Thousand  Copies. 


PROFESSOR  RICHARD  PISCHEL 

OF  THE  UNIVERSITY  OF  HALLE 
AND 

PROFESSOR  SYLVAIN  LfiVI 

OF  THE  COLLEGE  DE  FRANCE 

IN  RECOGNITION  OF  THEIR  CONTRIBUTIONS  TO  THE 
HISTORY  OF  THE  HINDU  THEATER 

2Et)i8  Folume  is  DclJicattl)  fag  tjje  Collafaoratorss 


CONTENTS. 


PAGE 

Preface  by  the  Editor  of  the  Series  and  Translator  . . • xiii 

Preface  by  the  Editor  of  this  Text  ........  xxi 

Critical  Account  of  the  Manuscripts xxiii 

Abbreviations  (Cross-reference  to  page  175  from) xxviii 

PART  I. 

Prakrit  Text  of  the  Play,  and  Critical  Apparatus  . . . 1-llG 

PART  II. 

Glossarial  Index  117-172 

PART  III. 

Essay  on  Raja^ekhara’s  Life  and  Writings 173-209 

1.  Chronological  Bibliography 175 

Abbreviated  titles  of  books 170 

2.  Rajagekhara’s  Life. 

Earlier  opinions  as  to  his  date 177 

Ilis  relations  to  Mahendrapala  (Nirbhaya)  and  Mahipala  ....  178 

Raja9ekhara  lived  about  900  a.d 179 

His  personal  history  (family,  sect) 180 

His  place  of  origin,  the  Western  Deccan 180 

Connection  with  Kanauj  (and  Chedi?) 181 

Rajacjekhara’s  ancestry 182 

3.  Rajagekhara's  Extant  Writings. 

Karpura-manjari  [=Camphor-cluster] 184 

Viddha-<;alabhanjika,  or  ‘The  Statue’ 185 

Bala-ramayana 186 

Bala-bharata  or  Prachanda-pandava 188 

4.  Lost  Works  and  the  Anthologies. 

A tradition  of  more  than  four  works 188 

Anthology-stanzas  (24)  identified  in  Raja9ekhara’s  writings  ....  189 
Anthology-stanzas  (10),  “ of  Raja9ekhara,”  not  yet  traced  ....  190 


IX 


X 


Contents. 


PAGE 

5.  Rajagekhara  and  the  Prakrit  Literature. 

The  literary  Prakrits  and  the  real  vernaculars 191 

Early  Prakrit  lyrics 192 

llala’s  “ Seven  Centuries,”  Sattasai  (Maharastri) 192 

Jayavallabha’s  Vajjalagga  (Maharastri) 193 

Anandavardhana’s  Visamabanalila 193 

Gunadhya’s  Brhatkatha  (Pai9achi)  . . . 193 

Prakrit  Kavyas.  Ravana-vaha 194 

Bappai-raa’s  Gauda-vaha,  750  a.d 195 

Prakrit  drama : sattakas 195 

Karpura-inanjari  the  only  sattaka  extant 195 

Important  for  the  history  of  the  drama 196 

6.  Other  Poets  mentioned  by  Rajagekhara 196 

7.  Mentions  of  Rajagekhara  in  the  Literature. 

By  Vasukalpa,  Abhinanda,  and  Somadeva 197 

In  the  Da9arupa  and  Sarasvati-kanthabharana 198 

In  several  works  of  Ksemendra 198 

In  the  Kavya-praka9a,  Prakrtarpiugala,  etc 198 

8.  Raja^ekhara’s  Prakrit. 

Caurasenl  and  Mahara.strl  his  only  dialects 199 

^auraseni-Maharastri  doublets  in  this  play 200 

The  poet’s  use  of  rare  and  provincial  words 201 

Marathicisms 201 

He  sometimes  confused  his  two  dialects 202 

His  usage  tested  by  Markandeya’s  Prakrit  Grammar 202 

Possible  inference  as  to  obsolescence  of  said  dialects 204 

9.  Rajagekhara’s  Literary  Characteristics. 

Pischel’s  estimate  of  Raja9ekhara 204 

The  poet’s  skill  in  metres,  especially  Prakrit  metres  .....  205 

His  employment  of  rime 205 

His  fondness  for  proverbial  expressions 205 

Self-repetition.  List  of  repeated  passages 206 

10.  Raja^ekhara’s  Favorite  Metres. 

1.  ^ardulavikridita ; 2.  Vasantatilaka;  3.  ^loka;  4.  Sragdhara  . . . 206 

5.  Arya;  then  Tristubh,  etc.,  etc 207 

11.  Metres  of  the  Karpura-mahjarl. 

The  metres  in  the  order  of  their  frequency 207 

Scene-groups 208 

The  metres  in  the  order  of  their  occurrence 209 


Contents. 


XI 


PART  IV. 

PAGE 

1.  Geography  of  the  Play  in  General. 

The  Deccan.  Kuntala.  Vidarbha.  Lata 213 

2.  Hindu  Seasons,  Months,  and  Asterisms. 

Table  of  the  seasons,  months,  ami  asterisms 214 

3.  Time-allusions  of  the  Play  and  Time  of  the  Action. 

Time  of  the  action  of  act  i 215 

Time  of  the  action  of  act  ii 216 

Time  of  the  action  of  act  iii 216 

Time  of  the  action  of  act  iv 216 

Synoptic  table  of  the  time  of  the  action  . . 216 

4.  Synoptic  Analysis  of  the  Play. 

Analysis  of  act  i 217 

Analysis  of  act  ii 218 

Analysis  of  act  iii 219 

Analysis  of  act  iv 220 

5.  Dramatis  Personae 222 


Annotated  Translation  of  the  Karpdra-maSjari  . 


. 223-288 


PREFACE  OF  THE  GENERAL  EDITOR  AND 
TRANSLATOR. 


Harvard  university  lias  undertaken  the  publication  of  a 
Harvard  Oriental  Series.  The  primary  object  of  this  Series, 
as  conceived  by  the  two  friends  most  concerned  in  its  establishment,  is 
an  historical  one,  — the  elucidation  of  the  history  of  religions,  more 
especially,  of  those  of  India. 

The  central  point  of  interest  in  the  history  of  India  is  the  long 
development  of  the  religious  thought  and  life  of  the  Hindus,  — a race 
akin,  by  ties  of  blood  and  language,  to  our  OAvn  Anglo-Saxon  stock. 
The  value  of  the  study  of  religions  is  coming  to  be  recognized  more 
and  more  every  day.  The  study  tends  to  broaden  and  strengthen  and 
universalize  the  bases  of  religion,  — a result  of  practical  and  immediate 
benefit.  Works  which  promote  this  study  stand  first  in  the  plans  of  the 
Oriental  Series ; and  they  are  especially  timely  now,  when  so  much  of 
the  widespread  interest  in  Buddhism  and  other  Oriental  systems  is  mis- 
directed by  half-knowledge,  or  by  downright  error  concerning  them. 
We  may  add  that  such  works  supply  the  material  for  the  helpful 
constructive  criticism  of  the  foundations  of  religious  belief,  to  offset  the 
all  too  abounding  destructive  criticism  of  the  day. 

But  to  any  one  acquainted  with  the  ways  of  the  progress  of  science, 
it  will  be  evident  that  the  purposes  of  this  Series  are  not  to  be  achieved 
wholly  by  the  direct  means  of  publishing  books  upon  the  religions  of 
India.  The  indirect  means  to  its  end  must  be  the  publication  also 
of  works  concerning  Indian  literature  and  history  and  antiquities  in 
their  manifold  diversities  of  time  and  of  system  (Vedic,  Brahmanical, 
Jaina,  and  Buddhist),  and  in  their  considerable  diversities  of  language 
(Vedic,  Sanskrit,  Prakrit,  and  Pali). 

xiii 


XIV 


Preface  of  the  Greneral  Editor  and  Translator. 


The  work  now  presented  to  the  world  of  scholars  is  the  first  critical 
edition  of  the  only  Prakrit  drama  extant,  the  Karpura-maujari  of  Raja- 
Qekhara,  who  flourished  about  900  a.d.  The  sacred  scriptui-es  of  the 
Jaina  religion  are  written  in  Prakrit.  And,  considering  the  extreme 
dearth  of  books  for  students  of  that  tongue,  it  is  hoped  that  this  volume, 
in  connection  with  Jacobi’s  Handbook,  may  prove  highly  serviceable  as 
an  introduction  to  the  language  of  that  very  ancient  religion. ^ 

“ A critical  edition  of  the  Karpura-maujari  is  an  urgent  necessity 
for  the  advancement  of  Prakrit  studies.”  Thus  wrote  Pischel  in  1876, 
in  the  preface  to  his  Hemachandra,  p.  xii.  For  the  realization  of  his 
long-deferred  hope,  we  have  at  last  to  thank  one  of  his  own  pupils. 
Dr.  Konow,  whose  work,  as  I trust,  will  elearly  show  the  training  in 
rigorous  philological  method  which  he  has  received  at  the  hands  of  his 
eminent  master. 

The  interest  of  this  play  is  largely  philological ; ^ but,  as  is  elsewhere 
shown,^  it  is  not  without  its  importance  for  the  history  of  the  Indian 
drama.  It  abounds  in  material  which  may  well  engage  the  attention 
of  the  student  of  antiquities^  and  of  folk-lore.®  And  its  allusions  to 
matters  of  geography  or  of  the  calendar,  to  facts  of  natural  history  or 
to  popular  beliefs  concerning  those  facts,®  challenge  the  mdest  erudition 
of  the  expositor.  It  presents  questions  of  broader  literary  interest,  such, 
for  example,  as  concern  the  degree  to  which  Rajagekhara  is  indebted  for 
motifs  or  for  modes  of  expression  to  his  predecessors,"  Kfilidasa,  Bhava- 
bhuti,  Dandin,  Bana,  and  Bhartrhari.  Its  literary  merit  is,  on  the  whole, 
meagre.  The  plot  is  scanty.  And  the  playwright  knows  little  or 
nothing  of  the  development  or  depiction  of  character.  Much  of  its  fun 
is  such  as  is  proper  to  the  cheapest  vaudeville  ; so,  for  example,  the  jiarrot 
incident  that  is  lugged  in  at  iv.  ‘P.  The  long-drawn  discussion  of  love 
at  iii.  10-19  is  invested  with  a singular  negative  interest  by  reason  of  its 
sad  lack  of  all  nobility  of  conception. 

1 Pischel’s  Prakrit  Grammar  is  now  soon  iv.  9«  ff. ; the  Magician’s  homage  to  the 
to  appear.  It  will  mark  the  beginning  of  a Dreadful  Goddess,  iv.  19. 

new  epoch  in  these  studies.  ® E.g.,  rain-drops  transformed  into  pearls, 

2 See  pp.  xxi,  201-3.  iii.  3^,  note  ; mirage,  ii.  40^ 

« See  p.  196.  « Cp.  i.  IS'®,  20*,  ii.  60%  ii.  50%  iv.  18»6. 

^ For  example,  the  merry-makings  at  the  Botanical  allusions  — passim. 

Banyan  festival,  iv.  10-18 ; palace-life,  i.  30  ; ’’  See  p.  204,  and,  e.g.,  ii.  10'’,  iii.  2^. 


Preface  of  the  General  Editor  and  Tranelator. 


XV 


The  entrance  of  tlie  ^Magician  (at  i.  21®)  is  signalized  by  several 
ribald  stanzas  which  throw  a good  deal  of  light  on  certain  pathological 
phases  in  the  evolution  of  religion,  such  as  have  repeated  themselves  over 
and  over  again  in  the  history  of  the  most  varied  peoples.  To  study  these 
phases  from  a point  of  widest  scope  is  an  essential  condition  for  an  intel- 
ligent diagnosis  of  all  such  vagaries,  whether  exhibited  in  the  fervors 
of  an  American  camp-meeting  or  of  a Hindu  temple-precinct. 

The  literary  merit  of  a piece  like  this,  however,  is  not,  in  my  opinion, 
to  be  summed  up  in  any  brief  and  disparaging  dictum.^  The  play 
is  surely  redeemed  from  sweeping  condemnation  by  the  swing  scene 
(ii.  30-40).  Here,  specifically  in  stanzas  30-32,  the  author  shows  himself 
a consummate  master,  not  only  of  imitative  language,  but  also  of  met- 
rical forms.  And  the  Sanskrit  student  must  be  dull  indeed  who  is  not 
charmed  by  the  liquid  music  and  smoothly  swinging  rhythm  of  stanza  30; 
while  the  stanzas  33-40,  although  contravening  some  of  the  canons  of 
Occidental  taste,  are  really  remarkable  for  the  ingenuity  and  beauty 
of  their  conceits.  The  King’s  verses  of  admiration  upon  the  bursting 
into  blossom  of  the  agoka  tree  (ii.  47)  need  no  apologist.  And  the 
descriptive  stanzas  (as  of  sunset,  evening,  or  moonrise,  ii.  50,  i.  35-36, 
iii.  25)  deserve  high  praise  for  their  vividness  and  genuinely  poetic  sense 
of  the  fairest  aspects  of  nature.  And  some  of  the  “ enamored  verses  ” ^ 
will  bear  the  test  of  Occidental  criticism,  — their  tenderness  and  beauty 
and  dignity  unimpeached.  The  contrasts  between  the  love-lorn  solem- 
nity of  the  King  and  the  mocking  badinage  of  his  Jester®  show  a 
command  of  the  shadings  of  expression  that  is  by  no  means  contemptible. 

The  Text  and  the  Critical  Apparatus.  — I need  add  little  to  what  is 
said  by  Dr.  Konow,  pages  xxiii-xxvi,  about  this  part  of  the  work.  I am 
confident  that  students  will  appreciate  the  pains  I have  taken  to  have 
the  typography  convenient,  especially  that  of  the  various  readings.  I 
regret  that  these  last  are  so  copious ; but  the  exceptional  nature  of  the 
text  must  excuse  their  fulness. 

Method  of  Citation.  — The  verse-portions  are  cited  by  act  and  stanza 
and  line,  the  line  being  indicated  by  a,  b,  c,  or  d.  The  prose  clauses 

1 Such  as  Apte’s,  in  his  Raja9ekhara, 
p.  24. 


2 Cp.  i.  32,  ii.  5,  9,  10. 

8 For  example,  at  ii.  40^-®,  ii.  iU.  29. 


XVI 


Preface  of  the  General  Editor  and  Translator. 


between  any  two  stanzas  are  numbered  consecutively  with  Arabic  numer- 
als, and  are  cited  by  the  number  of  the  act  with  that  of  the  preceding 
stanza  and  that  of  the  clause.  Thus  iv.  19®"  is  the  last  clause  between 
iv.  19  and  iv.  20.  Similarly  ii.  0°  is  used  to  indicate  the  fifth  of  the 
prose  clauses  preceding  stanza  1 of  act  ii.  It  is  thus  apparent  at  a glance 
whether  any  given  citation  refers  to  a passage  of  prose  or  of  verse. 

A simple  and  sufficient  means  of  citation  is  absolutely  indispensable 
for  any  text  of  mingled  verse  and  prose  that  is  of  consequence  enough 
to  be  studied  and  cited  at  all.  The  editor  who  fails  to  provide  such 
means  is  guilty  of  flagrant  neglect  of  plain  duty  and  of  gross  disregard 
for  the  time  and  convenience  of  students  and  of  his  colleagues.  By  way 
of  punisliment  he  may  count  upon  the  seriously  circumscribed  usefulness 
of  his  book  and  the  silent  maledictions  of  those  who  are  forced  to  use  it. 
Let  me  here  call  renewed  attention  to  Ernst  Leumann’s  “ Request  to  the 
future  editors  of  dramas  and  post-Vedic  prose  texts  of  the  Indian  litera- 
ture,”^ commending  it  to  most  thoughtful  consideration. 

The  Glossarial  Index.  — To  the  Prakrit  forms  of  this  text  I believe 
that  the  Index  will  prove  a very  accurate  and  complete  concordance. 
The  words  of  the  stage-directions  are  in  Sanskrit  and  are  not  included. 
The  English  definitions  may,  I fear,  seem  inadequate  by  reason  of  brevity. 
It  is  therefore  well  to  mention  that  the  reader  must  supplement  the 
definition  of  any  given  Prakrit  word  by  a study  of  the  senses  of  its 
Sanskrit  counterpart,  or  by  reference  to  Pischel’s  edition  of  Hema- 
chandra’s  Prakrit  Grammar  and  Dictionary,^  where  these  are  cited. 
Failing  these  books,  it  is  hoped  that  the  Translation  will  serve  as  an 
entirely  adequate  complement  to  the  Index. 

The  arrangement  of  the  Index  demands  a word  of  explanation. 
Verbal  forms  are  assembled  under  the  Sanskrit  form  of  the  root  to  which 
they  belong  when  this  can  be  given ; otherwise,  they  are  put  under  the 
heading  of  the  third  singular  present  indicative  of  the  Prakrit  form. 
Thus  pa-adei  stands  under  kat ; while  khuttai  is  given  under  khuftai.^ 
Similarly,  jantia  is  put  under  yantra-,  while  janta  comes  in  alphabetic 
place.  Again,  vi-inna  is  given  under  tf;  but  vi-tthinna  and  un-naa  (as 

1 Zeitschrift  der  deutschen  morgenlan-  ^ cited  by  the  initials  “ II."  and  “ IID.” 

dischen  Gesellschaft,  xlii.  161.  ® For  other  examples,  see  my  note  to  ii.  4. 


Preface  of  the  General  Editor  and  Translator.  xvii 

quasi  adjectives)  and  mildna  (on  account  of  the  splitting  of  the  ml- 
group)  are  set  in  their  alphabetic  places  and  not  under  str  and  nam 
and  mid.  I trust  that  the  occasional  hints  in  my  notes  will  reduce  to  a 
minimum  any  practical  inconveniences  resulting  from  the  arrangement 
of  the  Index. 

The  Translation.  — It  is  a part  of  the  fundamental  plans  of  this  Series 
that  none  of  the  texts  published  in  it  shall  be  without  a translation.  The 
Series  does  not  aim  to  consult  the  interests  of  Sanskrit  students  exclu- 
sively. For  better,  for  worse,  this  part  of  the  plan  is  at  all  events  in 
accord  with  the  dictates  of  absolute  frankness.  The  wisdom  of  the 
Wise  Men  of  the  East  is  to  be  estimated  by  Occidental  readers  with 
entire  fairness  — nothing  less,  nothing  more.  And  for  this  reason  we  may 
neither  withhold  its  excellencies  nor  cloak  its  defects.  I am,  moreover, 
strongly  persuaded  that  Indian  studies  would  have  exerted  much  larger 
influence  upon  the  intellectual  life  of  our  day,  and  would  even  liave  made 
more  rapid  progress,  if  the  masters  of  Indology  had  devoted  more  of 
their  time  to  the  work  of  translation  and  popular  exposition.  The  new 
recruits  for  this  field  must  be  drawn  from  the  circle  of  those  interested. 
To  enlarge  that  circle  is  therefore  indispensable.  Moreover,  the  com- 
parative study  of  literature  is  now  a recognized  discipline  with  clear  aims 
and  zealous  votaries.  And  to  such  students  also  this  translation  makes 
its  appeal. 

After  the  Text  and  Index  were  completed,  I requested  Dr.  Konow  to 
make  a translation  ; and  to  my  request  he  acceded  witli  the  utmost  kind- 
ness and  promptness.  But  upon  this  matter,  his  own  remarks,  p.  xxii, 
may  be  consulted.  The  play  is  very  difticult  to  translate.  The  meta- 
phors, be  it  for  their  boldness  or  their  accumulation,  are  at  times  most 
intractable.  And  often  the  point  of  a stanza  or  phrase  requires  for  its 
reproduction  in  English  such  a command  of  delicate  nuances  of  expres- 
sion as  cannot  be  expected  of  one  to  whom  English  is  not  vernacular. 
The  refusing  of  Dr.  Konow’s  rendering  proved  to  be  not  feasible.  And 
therefore,  after  trying  and  failing  to  find  an  American  who  was  both 
willing  and  able  to  translate  the  piece,  I set  myself  most  reluctantly  to 
the  delightful  and  interesting  work  of  making  a new  version. 

Most  reluctantly,  — because  it  involved  a delay  of  weeks  in  the 


xviii  Preface  of  the  General  Editor  and  Translator. 

progress  of  the  labor  of  issuing  the  works  of  my  two  departed  friends, 
the  Atharva-Veda  of  Professor  Whitney  and  the  Visuddhi-Magga  of 
Henry  Clarke  Warren.  This  delay  has  been  a sore  grief  to  me,  although 
tempered  by  the  feeling  that  these  Prakrit  studies  would  at  any  rate 
inure  to  the  benefit  of  my  equipment  for  the  completion  of  Mr.  Warren’s 
work. 

The  translation  here  presented  is  accordingly  an  essentially  inde- 
pendent one,  of  my  own  making.  A good  many  of  the  best  stanzas  I 
have  rendered  in  metrical  form.  That  I have  not  so  rendered  the  rest 
may  be  set  down  in  part  to  their  intrinsic  inferiority,  and  in  part  to  the 
extreme  pressure  under  which  the  keen  sense  of  the  above-mentioned 
delay  caused  me  to  do  the  work.  The  marked  diversities  of  tone  and 
style  ^ I have  endeavored  faithfully  to  reproduce  in  the  tone  and  style 
of  my  English. 2 The  translator  must  be  able  to  feel  the  atmosphere 
of  each  of  the  varying  scenes  and  to  adapt  his  version  to  their  subtile 
changes. 

Almost  at  the  outset  it  appeared  that  the  translation,  unless  provided 
with  a running  comment,  would  necessarily  be  obscure  in  many  points 
even  to  the  Sanskritist.  I hope  that  no  one  will  find  these  notes  unac- 
ceptable. That  this  portion  of  the  volume  is  intended  in  part  for  non- 
Indianists,  is  the  reason  for  writing  the  cA-sound  in  proper  names  with  ch 
(instead  of  the  usual  c)  and  for  giving  such  notes  as  that  on  the  Asuras 
at  ii.  31’’. 

Scant  as  the  action  or  stage-business  of  this  play  may  be,  it  is  the 
interpreter’s  duty  to  make  it  intelligible  to  the  otherwise  unaided  stu- 
dent. In  the  introductory  paragraphs,  therefore,  pages  213-222,  1 have 
done  my  best  to  make  clear  the  sequence  of  the  inferential  as  well  as  of 
the  explicit  parts  of  the  action,  and  likewise  the  place  and  time  of  each 
element  thereof. 

One  little  detail  perhaps  needs  a Avord  from  the  prefacer,  to  wit,  the 
version  of  piya-vaassa  as  ‘old  man.’^  The  German  AoeA  = ‘high,’ and 
Ahend-zeit  = ‘ even-tide.’  So  Prakrit  piya  = ‘dear,’  and  vaassa  = ‘friend.’ 

1 Well  illustrated  at  ii.  40*  fi.  Or  com-  colloquialisms  for  the  explanation  of  which 
pare  i.  10'  ff.  with  i.  18'  ff.  no  dictionary  less  complete  than  the  Century 

* For  this  rea.son,  readers  whose  native  Dictionary,  for  example,  will  suffice, 
tongue  is  not  English  may  find  occasional  * See  note  to  i.  18". 


Preface  of  the  General  Editor  and  Translator. 


XIX 


Hut  it  is  hardly  less  grotesquely  incongruous  to  render  piya-vaassa  by 
‘dear  friend’  than  to  render  Ilochzeit  by  ‘ high  tide.’  The  connotation 
of  the  colloquial  “old  man,”  as  used  even  by  very  young  men  to  one 
another,  -with  all  its  suggestions  of  jovial  good-fellowship,  shows  for 
itself  how  fatally  misleading  a Avooden  literalness  may  be.^  We  all 
know  that  a green  black-\>Gvvy  is  red. 

There  are  some  things  in  this  play  which  are  repellent  to  a mind  that 
is  bred  to  the  large  variety  of  wholesome  interests  ^ that  characterize 
our  best  modern  life.  Instead  of  making  the  offensive  ideas  conspicu- 
ous by  the  thin  veil  of  an  occasional  Latin  phrase,  I have  judged  it 
better  to  give  them  in  English,  simply  toning  down  their  more  drastic 
features. 

Wer  den  Dichter  Avill  verstehen 
Muss  in  Dichters  Lande  geheii. 

Never  Avas  the  truth  of  this  couplet  brought  home  to  me  Avith  more 
force  than  in  the  making  of  this  translation.  ^ly  OAvn  sojourn  in  India 
Avas,  alas,  too  short  to  absolve  me  from  dependence  upon  books.  I Avas 
therefore  glad  to  have  the  help  of  the  natiA'e  scholiast,  VasudeA'a.  No 
other  scholia  Avere  accessible  to  me.  And  I gratefully  record  my  indebt- 
edness to  Roxburgh’s  Flora  Indica ; and  to  several  of  the  systematic 
Sanskrit  treatises  on  plants  and  minerals,  mentioned  beloAv,  p.  177 ; and, 
last,  not  least,  to  my  venerable  friend,  Bbhtlingk.  I am  glad  to  bear 
the  shame  of  not  haAung  realized  earlier  the  profit  to  be  had  from  his 
Hemachandra  as  an  aid  to  the  study  of  Sanskrit  synonymy,  if  by  this 
confession  any  are  led  to  take  to  heart  the  excellent  Avords  of  three  and 
fifty  years  ago  with  which  he  closes  his  preface  : 

Ich  bin  iiberzeugt,  dass  mit  dieser  neuen  Ausgabe  Vielen  gedient  sein 
Avird ; nur  Einer,  der  es  sich  zum  festen  Vorsatz  gemacht  zu  haben 
scheint,  bei  seinen  Sanskrit-Studien  nie  an  die  reinere  Quelle  zu  gehen, 
AAurd  zu  seinem  eigenen  Nachtheil  und  zu  aller  derer,  die  seine  Werke 

1 CoROLLARA'.  — Taking  due  account  of  * tVe  must  remember  that  these  were 

the  diversities  of  tone,  I have  rendered  vaassa  often  utterly  lacking  to  the  Indian  villager, 
by  ‘my  man’  at  ii.  6^ ; by  a slightly  impa-  The  Sanskrit  student  may  make  this  point 
tient  ‘ man  ’ at  iii.  2^ ; and  by  a dignified  and  clear  to  himself  by  consulting  in  the  lexi- 
stately  ‘0  friend’  at  iv.  5'h  cons  the  articles  upon  grama  and  its  deriva- 

th'es. 


XX 


Preface  of  the  General  Editor  and  Translator. 


benutzen,  nacli  wie  vor  Alles  bei  Seite  liegen  lassen,  was  auf  diesem 
Gebiete  erscbeint. 

It  is  fitting,  ill  this  fourth  volume  of  the  Series  (the  first  to  contain  a 
preface  from  the  General  Editor),  to  acknowledge  the  twofold  indebted- 
ness of  Harvard  University  to  an  alumnus.  Dr.  Fitzedward  Hall,  of  the 
class  of  1846.  He  has,  on  the  one  hand,  honored  his  Alma  Mater  by  his 
achievements  in  Oriental  ^ as  well  as  in  English  philology ; and,  on  the 
other,  he  has  made  to  the  Library  of  the  University  a gift  which  is  unique. 
With  pride  of  nativity^  and  ivith  loyalty  to  his  college  unimpaired  by 
years  of  absence,  he  has  given  to  it  his  rare  and  early  Indian  printed 
books,  and  — what  is  more  — his  precious  collection  of  Sanskrit  manu- 
scripts.^ These  manuscripts,  with  some  five  hundred  purchased  by  me  in 
Western  India,  constitute  the  largest  and  most  valuable  collection  of 
the  kind  in  America.  It  is  my  fervent  hope  that  they  may  be  of  much 
service  in  realizing  the  plans  of  this  Series,  not  only  directly,  but  also  by 
way  of  stimulus  to  Oriental  research. 

C.  R.  LANMAX. 

Harvard  University, 

March  31,  1900. 


Postscript.  — Jmy  8,  1900.  In  the  meantime,  I have  submitted  the 
proof-sheets  of  the  entire  translation  to  Dr.  Konow,  and  he  has  returned 
them  all  with  many  useful  suggestions  of  improvement  or  correction. 


For  these  it  gives  me  great  pleasure 
my  sincere  thanks. 

1 Students  of  English,  considering  the 
part  he  has  borne  in  the  production  of  the 
great  “ Oxford  English  Dictionary,”  and 
the  marvellous  learning  thereby  attested, 
might  -well  enough  be  excused  for  not  know- 
ing that  he  had,  long  before,  attained  distinc- 
tion as  an  ludianist.  The  first  Sanskrit  texts 
ever  published  by  an  American  were  his 
editions  of  Atmabodh  and  Tattvabodh  (Mir- 
zapore,  1852).  And  his  early  writings  on 


to  make  public  acknowledgment  of 


Indian  philosophy,  dramaturgy,  epigraphy, 
etc.,  are  still  cited  with  deference  by  the  best 
authorities  of  to-day. 

2 His  ancestor,  John  Hall,  immigrated 
just  270  years  ago  from  England  to  Charles- 
towm,  about  three  miles  from  the  seat  of 
Harvard  College. 

* Acquired  during  long  official  residence 
in  India,  as  Professor  at  Benares  and  as 
Inspector  of  Public  Instruction. 


PREFACE  BY  THE  EDITOR  OF  THIS  TEXT. 


WENTY-FOUR  years  liave  passed  since  Professor  Piscliel,  in  the 


preface  to  his  edition  of  Hemacandra’s  Prakrit  grammar,  declared  a 
critical  edition  of  the  Karpfiramanjari  to  be  a necessity  for  the  advance- 
ment of  Prakrit  studies.  Rajagekhara  has  been  highly  esteemed  for  his 
proficiency  in  the  Prakrits,  and  it  was  to  be  hoped  that  a careful  edition 
of  his  only  Prakrit  play  might  throw  some  light  upon  the  linguistic 
history  of  India.  But  unfortunately,  the  materials  then  available  proved 
to  be  insufficient.  Since  that  time  new  manuscripts  have  been  found,  and 
some  years  ago  Professor  Pischel  proposed  to  me  to  undertake  the  work, 
and  at  the  same  time  he  kindly  put  at  my  disposal  the  collations  which  he 
had  formerly  made  with  the  view  of  editing  the  play  himself.  Though 
regretting  that  the  edition  should  not  proceed  from  his  master’s  hand, 
1 thankfully  accepted  his  proposal,  as  he  declared  it  impossible  to  find 
the  leisure  necessary  for  the  w'ork  himself. 

I have  myself  collated  only  the  manuscripts  NRSTUW.  For  ABCP, 
I used  the  collations  made  by  Professor  Pischel ; and  Dr.  Liiders  kindl}' 
collated  O for  me. 

In  the  notes  I have  quoted  all  truly  various  readings.  I leave  unmen- 
tioned the  ya-Qi’uti  and  the  dental  n in  the  Jaina  mss.;  whereas,  in  the 
readings  of  STU,  I have  always  transcribed  the  dot  -|-  consonant  as 
double  consonant.  I also  pass  by  all  evident  blunders  in  silence.  The 
anunasika  is  generally  indicated  by  the  same  sign  as  the  anusvara ; and 
this  fact  must  be  remembered  in  using  the  critical  notes. 

The  chief  aim  of  this  edition  then  is  a linguistic  one.  But  besides,  I 
have  also  been  guided  by  another  consideration.  I often  had  to  regret 
that  no  chrestomathy  of  the  Prakrits  of  the  plays  exists,  and  it  was  my 
hope  that  the  Karpuramanjari  might  be  used  as  such  one.  This  consid- 


XXI 


XXll 


Preface  hy  the  Editor  of  this  Text. 


eration  has  also,  to  some  extent,  influenced  my  work.  Thus  I have,  in 
some  places,  introduced  the  peculiar  forms  of  the  two  dialects,  even 
against  the  reading  of  all  manuscripts.  Further,  the  vocabulary  is  com- 
posed with  the  aim  to  serve  students  learning  Prakrit.  To  study  those 
dialects  it  is,  naturally,  necessary  to  know  Sanskrit,  and  I therefore 
always  refer  to  the  corresponding  Sanskrit  form,  where  this  is  possible. 
I have  not  made  any  attempt  to  give  an  etymological  index,  nor  have 
I intended  to  furnish  a vocabulary  which  might  be  sufficient  without 
knowledge  of  Sanskrit. 

From  the  same  point  of  view  I did  not  think  it  convenient  to  add  a 
translation.  And  I was  also  convinced  that  it  should  be  impossible  to  me 
to  translate  such  an  intricate  text  satisfactorily,  as  long  as  English  was 
not  more  familiar  to  me.  On  the  other  hand  the  general  editor,  from 
quite  another  point  of  view,  thought  it  necessary  to  add  a translation. 
Upon  his  request  I therefore  made  an  attempt  to  render  the  text  in 
English.  But  I soon  felt  how  unsatisfactory  my  work  must  be,  and 
what  I sent  Professor  Lanman  can  hardly  be  called  more  than  a rude 
paraphrase.  I was  therefore  very  glad  to  hear  that  he  would  Avork  out 
a translation  himself. 

My  best  thanks  are  due  to  those  who  have,  in  various  w'ays,  aided  me 
in  the  work,  to  Professor  H.  Jacobi,  Dr.  H.  Liiders,  and  Dr.  A.  Stein ; 
to  the  government  of  Madras  for  the  courtesy  and  kindness  with  which 
it  forwarded  new  materials  to  me  ; but  above  all  to  Professors  Pischel 
and  Lanman.  To  the  rich  knowledge  and  kind  benevolence  of  the  former 
I never  appealed  in  vain,  and  though  overloaded  with  other  works,  he  has 
kindly  read  the  proofs  of  text  and  vocabulary.  And  the  kind  interest 
which  Professor  Lanman  has  taken  in  my  work,  and  the  unselfish  assist- 
ance which  he  has  rendered  me,  cannot,  in  any  respect,  be  measured  from 
his  prefatory  remarks. 

STEN  KONOW. 

University  of  Kristi a.nia, 

June  29, 1900. 


CRITICAL  ACCOUNT  OF  THE  MANUSCRIPTS. 

The  Text.  — This  edition  of  the  text  of  the  Karpura-mafijari  is  based 
upon  the  following  manuseripts  : 

A.  Jaina  ms.,  8 leaves,  with  9-13  lines  on  eaeh  page;  9^  inches  by 

inches.  Contains  javanikiintara  i.  See  Bhandarkar,  Report  on  the 

search  for  Sanskrit  mss.  in  the  Bombay  Presidency  during  1882-83, 
Bombay,  1884,  p.  15G,  no.  418.  The  colophon  reads : iti  grlkharatana- 
vabhoganadinamanigrljlvasagarasuriQisyavacanacaryaviracitayarii  karpu- 
ramamjarimahanatikayruii  prathamam  javanikamtararii  vivrttam  idaih  ||  Qrl 
II  9ri  II  rajanpure  likhitarii  ||  rajanpure  likhitam  ||.  Vacanacarya  must  be 
the  author  of  a commentary  on  the  Karpuramanjari.  Of  this  commentary 
a few  traces  are  left.  An  incorrect  ms.  Aspirates  are  doubled ; nd  is 
often  substituted  for  nt.  Codex  A is  therefore  possibly  copied  from  a 
South  Indian  original.  Cp.  Pischel,  Nachrichten,  Gottingen,  1873,  206  ff. 

B.  Jaina  ms.,  8 leaves,  with  15  lines  on  each  side  ; 10^  inches  by  41- 
inches.  Prakrit  text,  Sanskrit  translation,  and  some  glosses.  Contains 
javanikantara  i.,  the  beginning  of  ii.,  as  far  as  hidaavajjam  (ii.  1^),  and 
the  end  from  sa  rayanamayl  (iv.  19®^).  See  Kielhorn,  Report  on  the 
search  for  Sanskrit  mss.  in  the  Bombay  Presidency  during  1880-81, 
Bombay,  1881,  p.  83,  no.  22.  The  colophon  reads  : iti  Qrikarpuramaihja- 
rinatika  kasya  [!]  samapta.  sam.  1600  varse  grimahimanagare. 

C.  Jaina  ms.,  11  leaves,  with  8 lines  on  each  page ; 9|  inches  by  4^ 
inches.  Fol.  3 is  wanting.  Contains  javanikantara  ii.  See  Bhandarkar, 
I.C.,  p.  156,  no.  419.  The  colophon  reads:  iti  9rikhugatananabhogana- 
grijinasagarasurigisyavacanacaryaviracitayam  karppuramamjaryyam  dvi- 
tiyam  javanikamtararii  VTttarii  ||  gri  ||  ciththadu  edarh  likhidarii  dava  dineso 
diyo  mahio  | ehi  payattadu  sariito  saccaih  saccarh  kunaihto  wa  ||  1 || 
ray  apuraththidena  udiy  ajadisirorattasirinarasiihhasunuj  adena  likhi  darn 
jjeva  I Kappuramariijarmadaarii.  Codex  C has  the  same  peculiarities  as 
A,  and  seems  to  be  a continuation  of  that  ms. 

N.  A modern  Nagari  ms.,  16  leaves  text,  13  leaves  translation,  with 
15  lines  on  each  page ; 13  inches  by  8^  inches.  The  water-mark  has 
the  date  1859.  Several  lacunas.  Conclusion  of  the  text  wanting.  See 

xxiii 


XXIV 


Critical  Account  of  the  Manuscripts. 


Weber,  Verzeichniss  cler  Sanskrit-  und  Prakrit-handschrifteu  der  Konig- 
lichen  Bibliothek  in  Berlin,  Berlin,  1886,  no.  1558.  The  doubling  of  the 
aspirates  and  the  occasional  writing  of  nd  for  nt  point  to  a South  Indian 
origin;  and  forms  such  as  ^rhnna  for  (Bmbha  and  a few  instances  of 
ya-Qruti  (or  writing  of  an  intervocalic  y in  cases  of  secondary  hiatus,  as  in 
ray  ana  for  raana')  show  influence  from  Jaina  mss. 

O.  A modern  Nagari  ms.,  21  leaves,  with  18  lines  on  each  page  ; 10|- 
inches  by  9^  inches.  Prakrit  text  with  some  glosses.  Sometimes  correc- 
tions in  the  margin.  In  a few  places  defective.  The  ms.  was  copied 
after  the  year  1830.  See  Aufrecht,  Catalogue  of  the  Bodleian  mss., 
p.  146^  no.  313. 

P.  Copy  from  a Jaina  ms.,  46  leaves,  with  15  lines  on  each  page,  11| 

inches  by  5|^  inches.  Complete  text  and  translation.  Modern  and  very 
incorrect.  See  Kielhorn,  l.c.,  p.  83,  no.  23.  After  each  javanikantara 
is  the  following  colophon : iti  grimatsuryavamgodbhavasahigilakulava- 

tamsaQrimatprayaga  (i.  and  ii.,  prayoga)  dasamgajaQripremarajaviracite 
karpurakusumanamni  karpuramamjaribhasye  . . . yavanikamtaram 

samaptam.  Ends  : Qubham  bhavatu  ||  samvat  1931  prathamaasadhagukla- 
pakse  tithau  sastyaih  Qanivare  likhitam  idam  vyasagopidasatmajena  || 
malakhyanamna  ||  Qrijayagilanagare  ||. 

R.  Copy  of  the  ms.  no.  417  of  the  Raghunatha  temple  library.  See 
Stein,  Catalogue  of  the  Sanskrit  manuscripts  in  the  Raghunatha  temple 
library  of  His  Highness  the  Maharaja  of  Jammu  and  Kashmir,  Bombay, 
1894,  p.  77.  I owe  the  possession  of  the  transcript  to  the  kindness  of 
Dr.  Stein,  who  had  his  assistant,  pandit  Sahajabhatta,  make  it  for  me. 
Incorrect ; some  lacunas  ; conclusion  wanting.  Text,  with  the  commen- 
tary of  Vasudeva. 

S.  Copy  of  the  Tanjore  ms.,  no.  10634,  prepared  for  me  through  tlie 
liberality  of  the  government  of  Madras.  Text  with  some  lacunas.  See 
Burnell,  Classified  index  to  the  Sanskrit  mss.  in  the  palace  at  Tanjore, 
London,  1880,  p.  168“.  Grantha  letters. 

T.  Copy  of  the  Tanjore  ms.,  no.  5253,  made  for  Professor  Pischel  at 
the  request  of  the  late  Dr.  Burnell.  Complete  text,  with  some  lacunas. 
Very  incorrect.  See  Burnell,  l.c. 

U.  Copy  of  the  Tanjore  ms.,  no.  10633“,  Grantha,  pi'epared  for  my  use. 
Text  with  Sanskrit  version.  Some  lacunas.  See  Burnell,  l.c. 

W.  Jaina  ms.,  21  leaves,  with  13-14  lines  o)i  each  page,  101  indies 
by  4|  inches.  Complete  text,  with  marginal  paraplirase.  See  Weber, 
no.  1557.  The  colophon  reads : samatta  kajipuramamjari  niima  nadika 
mahakaino  siririiyasehassa  kada  . . . saihvat  1520  varsc  gake.  Tlie 
groups  tth  and  ddh  are,  as  a rule,  not  to  be  distinguished  in  this  ms. 


Critical  Account  of  the  Manuscripts. 


XXV 


Commentaries.  — Furthermore,  1 have  used  the  following  commentaries: 

Vasudeva’s  gloss  in  the  Raghuuatha  temple  ms.  and  in  the  edition  of 
our  play  in  the  Kavj'amrda. 

K.  The  commentary  of  Ki-snasunu  in  a transcript  of  the  Tanjore  ms., 
no.  10633*,  belonging  to  Professor  Pischel  (see  Burnell,  l.c.).  A new 
copy  was  given  me  by  the  government  of  Madras  together  with  S and  U. 

J.  Pitilmbara’s  Jalpatiratnamahjarl  (Kielhorn,  l.c.,  p.  65,  no.  242), 
collated  by  Professor  Pischel.  This  is  a different  work  from  that  con- 
tained in  the  corrupt  mss.  described  by  Weber,  l.c.,  nos.  1559,  1560. 


Among  these  mss.  we  can  distinguish  two  distinct  groups : a South 
Indian  group,  comprising  STU;  and  a Jaina-group,  to  which  belong 
ABCPW. 

STU  agree  in  most  particulars  and  must  be  traced  back  to  a common 
source.  The  doubling  of  a consonant  is  indicated  by  a dot  before  the 
consonant;  lingual  1 is  substituted  for  dental  1;  etc.  Moreover,  where  the 
discrepancies  between  the  manuscripts  are  very  considerable,  STU  have, 
generally  speaking,  the  same  reading.  Thus  e.g.  i.  6,  7,  8*,  9,  10,  14^ 
18^  20'- 22“,  32';  ii.  29%  34%  41%  iii.  5’,  8“,  20%  22%  iv.  1%  18® « , 

20%  etc.  And  in  the  South  Indian  group,  STU,  the  conclusion  (which 
is  entirely  missing  in  the  Jaina  group)  is  different  from  that  in  NO  (R 
is  incomplete). 

Burnell  was  of  opinion  that  T was  copied  from  S.  But  in  iv.  24,  T 
and  U agree,  as  against  S.  See  also  i.  20^®,  21%  30“,  33'';  ii.  41®,  42% 
iii.  1'',  3®’®,  4“-*-8-%  etc.  It  must  therefore  be  concluded  that  T is  copied 
from  U,  perhaps  with  corrections  from  S (cp.  ii.  11',  16%  41®'-;  iii.  22®, 
etc.).  The  commentary  of  Krsnasunu  agrees  with  this  group;  and  in  the 
final  stanza,  with  S. 

The  Jaina  mss.  are  characterized  by  some  common  blunders  and 
omissions.  Cp.  ridiiiu,  i.  1*';  further,  i.  7,  19%  20";  iii.  4',  etc.  More- 
over, the  complete  absence  of  the  conclusion  in  all  these  mss.  is  too  extraor- 
dinary to  be  a mere  accident.  In  many  readings  also,  this  group  differs 
from  the  other  mss.  Cp.  i.  9“’*,  15'';  ii.  11%  48*;  iii.  1*,  iv.  2'®,  6*',  etc. 

Among  the  Jaina  mss.,  B and  W are  relatively  old.  B is  very  cor- 
rupt; W is  much  better.  Both  are  North  Indian  mss.  B was  copied  in 
Mahim  (in  the  Rohtak  District)  and  bought  for  government  in  Bikaner. 
The  origin  of  W is  not  known. 

A and  C are  attributed  in  their  colophons  (which  mention  the  lost 
commentary)  to  Vacanacarya,  the  pupil  of  Jinasagara,  “the  sun  in  the 
sky  of  Kharatana.”  “Jinasagara  was  the  first  high-priest  of  a new  branch 


XXVI 


Critical  Account  of  the  Manuscripts. 


of  the  Kharatara  sect,  which  was  established  in  1630  A.D.,”  says 
Bhandarkar,  l.c.,  p.  44.  Cp.  Klatt,  Indian  Antiquary,  xi.  250,  and  Speci- 
men of  a literary-bibliographical  Jaina-onomasticon,  Leipzig,  1882,  p.  39. 
A and  C were  copied  in  Rajanpur,  Punjab,  perhaps  from  a South  Indian 
original.  See  above;  cp.  also  the  reading  gauttana  in  A,  i.  19®. 

P is  a modern  transcript,  copied  and  bought  in  Jesalmir,  from  a 
Jaina  ms.  It  is  perhaps  in  some  places  influenced  by  the  South  Indian 
group  (cp.  i.  12®;  ii.  45*,  etc.);  but  it  is  clearly  shown  to  belong  to  the 
Jaina  group  by  the  agreements  mentioned  above,  p.  xxv. 

The  remaining  mss.,  NOR,  are  all  quite  modern.  They  generally 
agree  with  the  Jaina  group,  as  against  STU;  cp.  i.  18®’®'*®,  20*’®,  22“,  etc., 
and  consider,  above  all,  the  blunder  which  they  have  in  common  at  ii.  28'. 
They  therefore  seem  to  be  derived  from  the  same  source  as  the  Jaina  mss. 
On  the  other  hand  they  have  so  many  common  blunders  and  various  read- 
ings that  they  must  be  classed  apart ; cp.  i.  8*,  9*,  10*,  15*,  18*®’*®,  20*,  34®; 

ii.  1®,  6*®,  29“,  etc.  In  the  first  act,  N shows  a nearer  connection  with  R, 
as  at  i.  7,  8,  12®,  13*,  15“,  16*’®,  20®*,  32®,  34*’®*,  35',  etc.  Both  N and  R 
have  the  aspirates  doubled  in  the  South  Indian  way. 

O and  R are  much  more  closely  connected;  cp.  the  critical  notes  to  i.  4*. 
Some  common  blunders,  which  are  not  mentioned  in  the  critical  notes, 
point  in  the  same  direction:  such  are  joeham  instead  of  jonham,  i.  I"* ; 
nihittaga-  instead  of  -gga-  , i.  4' ; esya  instead  of  ettha,  i.  12* ; lagohim 
instead  of  laggehim,  i.  16*® ; the  very  frequent  writing  of  d instead  of  t^ 
etc.  Many  other  readings  are  common  characteristics  of  O and  R : see 
i.  4*®,  5*,  9* ; ii.  0*,  12*,  25*,  29®,  31<®,  42®®’®* ; iii.  1*,  22*’ « ; iv.  9*«-,  etc. 

NOR  also  sometimes  differ  from  each  other.  Especially  we  find  not 
seldom  that  N agrees  with  the  South  Indian  group  (cp.  i.  4“®’®’** ; ii.  31“®; 

iii.  20** ; iv.  20**,  etc.)  and  OR  with  W (e.g.,  ii.  45*;  iii.  16';  iv.  9*’®, 
17“,  18®®,  20*,  etc.).  But  still  NOR  must  be  classed  together. 

The  manuscripts  of  the  Karpuramanjari  must  therefore  be  classed 
according  to  the  following  diagram  : 


Archetype. 


AC 


a 

I 


1 


Part  I 

TEXT  AND  CRITICAL  APPARATUS 

OF  THE 

KARPURA-MANJARI 


EDITED  BY 


STEN  KONOW 


ABBREVIATIONS 


For  explanations  of  abbreviated  forms  of  titles 
under  which  certain  books  have  been  cited,  see 
the  Chronological  List  of  Books,  etc.,  pages  175 
to  177. 


fit  ^ ^nsft  Aigtrman  i 

iT^  HT3it^  tTT  f^  ^ H’fliffrJ-sTT 

fH^  «haj«<r!l  WtTS5  ’93TTtJ  ■fet  II  <1  II 

arf^  3T'  I 

at4r(r5<«Mru**tr=(®»t«i4^3r3rfio3r5^tiid<d<ii,^i 

3irqf53rqTijflrstuTl.ft!m  tjnt^  Wstl,»!i  ttl^^iiii  ^ « 

^T^nFrT* 

9nn9i:  i 

«r«^t!4Htj4tiiit!i  Hisnsfuarnij  i 


1»  ABPWNORT  iTfe.  SU  #3.  — AB 

O O 

55Tw4.  ”4^-  — A B 

9R  ^nft.  — TU  tn^. 

1*’STU  ft.  — ABWNR  Ti3T^,  P TO- 
0 STU  tra^.  — ASTU 

TITT-  — T ^ra^iftHT. 

1'  W tjfiJml,  N — ABPWSTU 

0 mara^.  — ABPWR  tk- 
Ts,  N cqrr^,  T tnir3-  — B jut.  — 

o NJ  O O 

wo  ft  ft-  — tj^rftaTT- 

I'^ABPW  Tft^3T^3,  ]SORT  4.1^1 3ft.  — 
A ftng^,  B ft?r^,  W ftilH,  S; 
‘’i^.  — BW  ^3Tr 

VO 


P BWST  omit.  — T transposes  verses 
2 and  4. 

2»  AT  — 0 ararftiaT*-  — B 

“#srarr?-  — A ‘isnrA,  P “s^arr^, 
STU  »?T?. 

2**  AX  3Taftj3T°.  — ABPWORS  “vnn’, 
N »snir°.  — A “HT^orfi,  BSTU 
— AXT  j. 

2' AX  srr°  cttutt:,  B sttoh  ttavinit, 

& o 

W srrsiH  wairr:,  OS  omit  fbt®; 

RT  srft  ar- 

3®T  — P “jftnrranff.  — AR 

4)*t~i^iurHnai,  BWO  P 


i.  3]  ehu<t4>3iulH  [2 

5?  ^ ii  ? ii 

aif^  aj’  I 

S:Hi<l<Hmmarm<!!ig  sawTfTar^ 
a;rt^  ^x,sru;  ^ 1 

asrg  ftirri  ^ ^JjTt  5RU?^  « 5J  H 

uftSTPJ  •iy'4yir««<5J«ci«l«ltJ  I f^i  ^ f^afi  3T»fra 

3TOf  I ^ n^s.<ii  frorafnt  1 

5§flN<!5laJt  1 3fTOT  trf3^3Tri  1 


Hwtunwniri  N Huh^urwnn,  SU 

3'’  B fafifgf<ifig»,  P — A ®w- 

3TTff,  B °«qmr-  — NU  flviral)  B 


T — NSTU  aft.  — 

P fire3,  NO  fe. 


3^  BT  omit. 


4^  A omits.  — B H^viRT  trfT“ , P ?nf- 

€\  O 

\ITT  ftrmr:  WK  ^r- 

O O 

tvitt:  trft:“,  OR  srisift  FinaTT:  ofcs 

C\ 

T Hraift  wnra:  xifr*- 
42  ABPWN  o?ir.  — A oqn^,  BWNOR 
'tiar^,  P SU  “TuaTjt,  T «xi- 

— 0 N aMft,  STU 


4‘  ABPWN08TU"13iht3».-ABPWN0R 
°uimr<tw,  T “qtfffgq.  — 0 wiftn®. 

o o 

— BW  ogranj,  P “gifttii. 
4‘>APWN0RT  qftaiTr,  B ufero.  — 
ORTU  gf^aRo.  — R ‘’aiRT‘‘.  — 
A “FuiM,  BW  “fftrjffq,  P ofaqft^, 
SU  “Rrftq,  T ofRftar. 

o o 

4‘T  srea?”  instead  of  gftwT“.  — BR 

O 

•jftrn",  O “ftwr®.  — P — 

mss.  qra“.  — T — AP 

— A BPSTU 

4<‘A  m,  NSTU  omit.  — AB  N 
aaftft,  STU  — ABWNR 

warfe,  P srafft,  T grrare.  — ABP 
frrfRf3T». 


ai"  a;-  snift  — BPW  an^. 

o 

— BP  W «OTT!i,  T ^<>. 

— ABWR  qft^.  P tra^,  O gnft. 
4*  A TOftfaarj,  B uHif^jqi j,  PO  q^ft- 
feaft?,  W qrTrfeaaTT#,  N q^f^arr^, 
R qwtfean^,  SU  q^arre,  T q^- 
fean^.  — A ftraqr^,  B faftiqre 
ftra,  P ftreqi'^,  W fftfg-,  N 
0 ftraarNr,  STU  "arr?.  — AP  3- 
fgaqftfs,  B H^qftfe,  SU  “qft^,  T 3- 
f^<yi  fcs  an  fft  wgcifVtianaft  q^  ■y^<s* 
4^  A artiR,  BPWNORSU  ^aRT,  T^aRi. 

— SU  “gR?.  — B nqjfe,  STU  ij^. 
4®  N qfen^,  T •an?.  — A qfwraftr, 
P qfr,  W qnitHs,  SU  33^- 


3] 


Tnwi 


[i.  4 


^ f Tijij  I ^ i 

sar  TTfs^nttarf^'  i ?:r  firfw  f^  wssftafrf^’  i 
Ti^rar^aarro  gijftaTf^'”  i vi  g^TPft^  ^n^- 

^aif^"  I m ■ftl  ^i|^  igirflar  jfSW"  l HugnfasqaaHW 


injTTrafk*®  I 


uifiuffij^;  I ^injT^  HT^t“  I 
wnj35:  I 


4®  T see  above,  at  i.  4®.  — B f^,  P ft.  | 
— B PNR  omit;  0 SU , 
Bi^.  — A xi^  aftffora,  B 
9ftBHT3,  P ««yftjyid  TT,  W Qo 
sftrw3,  N u®,  0 a« 

oftransTt,  SU  5^.  — AP 

fti^Fd,  BWNORT  a^ft,  SU  yi^. 

4’’  ABWNORT  to-  — A to.  B TO-  — 
A ddfafg.  B qftdl,  PW  6fdd1 , N 
fe^,  0 srftai,  SU  sftggifaar^TTift, 
T gt^^TfTO^igTi-  — A smftg, 
BWR 

6ltu).  O 

4®  N afti-  — A qftyfiqfd , B cifTOmtl  i 
arift,  N °^3iifd.  0 “Hiferft- 

4»W  TO,  SU  TO  ft-  — BSU  ft,  P 
ftm,  N ffthr-  — BPNRT  omit 
ft.  — WO  mfm-  — A qf;r3<afd, 
B Higjftft,  P «3^1ud,  W ^rftgi- 
5sft,  STU  ®sffe. 

4^®  After  TO  A inserts  »'glHHIH,  BW 
STOTTOU,  P TOTHTTOH,  NORSTU 

O 

diUHMiO-  — B Ukhldapstinr,  B tl- 
19ifTd3lU!i,  W acKdldsIKII.  N 12cF9T- 
ejwnir,  OR  UcMHtiiniHtii,  STU 

^ O 


WUfclvTtUliWm-  — A qft^TTOt,  B TO- 
I TOft,  PTO3vft,WTOft^t,  NORSTU 
TOTf^ft.  — ABPWNOR  omit  w- 

O 

tn^srfe- 

4“  P TO  Tig,  w TO,  STU  TO-  — OR 
VMUlldm®,  STU  “liftsT;  A adds 
ft-  — P wraalft , S omits;  U 
ftsnro- 

4'®  P ft  TO%m,  0 w ft,  SU  ft  ft,  T 
are  ft.  — A 5KTO,  BP  a»TO,  W 

o o 

3TTO,  N a<OT,  0 asTOT^.  — P 

O OO  Ov 

^<*Tfca,  T 'sarftw- 

4^®  A omits;  BWNOR  °;gft  ^TOiqft, 
P °WTTOTOftqft. 

4'^  A to:  aftaift  mftn*aa»;  uftaa 
TOvjRTn^,  BN  to:  trfroft,  P n- 
froft,  WR  to:  gft^ft  Trift- 
mfiadi : 

4^®B  sroag,  w amrag.  — PW  »ng- 
4®«APWOSTU  tovitt':,  B omits;  NR 
TO>7TT:  ftftfU.  — ABPW 
— A •tra^T,  B ®rroTO,  PWORT 
•trar^,  N “viar^,  SU  ®txt3^.  — A 

gfta,  B 2tWtn,  Pstftyg,  STUaftg. 
1* 


L 4] 


wnraf : I ^ ^ iTO  I 

UifVu I (*cicfi  i I 

HT^  ^rff53T3  ^ai  ^ »TO?  i 

^ ar  IJ^  II  M II 

wnra:  i fefesi'  I 3^  ^ I "®nm'  I Ttarai^*  I 

aif^qif*g^: 

WrMI  * I ^ A4^f^’  I 


wraq;:  i 


wrfeann^ar^gT4.i 

•f^  ^ ^ II  % II 


I* 


4*^  A urfi:'’  nrg-  — ABPWO  omit 

N orfr  I 3TM  ^ I ^ri  I 3iff 

C\ 

mfedsw  I xrrfi:  wra  etc.;  R wra; 
instead  of  sr>i  ¥;  SU  srs  4,  T 
I an  ? i ^ i f*F  ^ 5^  1 
xrrfic-  wra  etc. 

4***  A in  the  margin  corrected  to 

N ?T3aT-  — P nr%f^- 
4^”  Mss.  — ACT  gn- 

5*  P ar^  instead  of  WTET-  — ABPWOR 
N gisrs^ra,  SU  gj^an,  T 
gfif?  II W — APWNOESTU  vz, 
B — BSTU  fsR.  — B MW?, 
P iTOig,  N Mfhragtfk-  T ufinrsan-  — 

P Tagica°,  N rsrai?",  T ^argffo.  — 

B N “fa^. 

5*’ABW  P — BSU 

MfiggqiMW,  W wffenraw,  NRT  m- 
^dUTMW-  — P ^ N g;  ad, 
SU  ^ w.  T in- 
s’ Mss.  frgvnr:.  — SU  w,  T arirMiid- 


S^PNRT  omit  an-  — P utfg^i,  0 q- 
SU  qq^w-  — ABPWSU 
omit  NR  ara.  — N 
5^’  * A omits.  — PO  qno , STU  arfti 
qrar-. 

5^  A qrft-  am-  — SU  an-  After  gn 
OR  add  ^0  fgi  a^af- 
5®  AO  omitnnrat:;  BWNSTU 

PR  mfmifijgi;.  — A omits  m- 
fsrr;  N airw. 

5^P  gtfef,  STU  grfigfj-  — -A.  3m et,  B 
gqg,  P qg,  W ot,  NO  ^®a,  R ga- 
ar,  SU  qqg,  T gicg.  — P gjdfis 
— A adds  snr,  SU  an- 
6“PSU  omit  fM-  — B MW,  N Mmfk, 
STU  MfijT55n  — A ad  ijT-  — A 
wfkqrt,  BWSTU  ‘anq,  P -qn, 
O »arrad,  R °arn.  — WOT  arai- 

o 

6'’  ABPW  xjuj  R -^jj!  |T^.  — OR  tra- 

SJ 

fr%r.  — A “feraumi.  B 


5] 


[i.  8 

I m fir  tjwt  i 

Tiw  I 

Mr<H*(rg<;}Tii!  ^f%3Tfn?Tlt  fffwfirora  II  S II 

to  to’  i i 

aiTsrf^iW  w fTOT  fliT  TOT  ^Hroron  f^  i 

TO  «rar  in  Its  wj  II  t II 


wnra?:  I w[  arnn  ^ 


Ur?,  P °fOTv?hTOT^,  W «fu<|sHMJ4T?, 
NT  ofatKam^.  OK  “fejwsTra.  — 
ABPWO  ^ nrf^,  N ^ 

^ii)  P TIT  <*ci«  ^ ifrtj  SU  ahjfe. 

6’  AP  ^TTlvIRt  instead  of  ftrfe*,  R W 

fe®. 

6"  STU  omit  m.  — BR  f^,  APSTU 
omit  fn;  w f%.  — A 
BPWNORSTU  — A orfij- 

zraw,  B aT^q^,  P qi^irara,  W qr€- 
31^,  NOR  xn^ar,  SU  qnT’,  T q- 
ft^sTraar.  — A q^,  BPWNOR 
qjT^,  SU  qj^.  — A ^ q^,  P fe, 
N omits;  SU  q^. 

7 ABPW  omit ; in  NR  verse  7 stands 
after  verse  8,  in  0 after  7^.  NOR 
insert  wfe  sr  between  the  two 
verses. 

7*SU  qTTS“,  T qr^sT*.  — N 0 ar, 
STU  ^.  _ T — N #mft, 
STU  -WT^. 

T>NRST  q5F%  0 qiTq*.  — N 'irff?- 


rTTU’l 


wnn,  O <^Tnn.  — o irf^aro^o,  T 
SU  “HUiiiifaaT**.  — N a- 
^iT,  STU  frf^3T°. 

7'  B *a3q,  PNRSU  “gann,  w ovanttu, 

o 

T “^Tjjnn  — A wfins  girq 
— B mq,  P ra,  W og,  NO  aw, 
R 5aw,  STU  qw- 
7^  B qqr,  WNOR  gnfi,  STU  grg. 

8*P  M?q,  R STWT",  T argr*.  — AOT 
•fqi3«r,  P fqrfeqqr,  N -feqqr,  R 
— APW  H,  N H-  — AB 
PWRSTU  fsaar,  N fesf,  O fear. 
— B P W fg 

N H fear  g^,  0 g^  g fear, 
STU  fear.  — AP  qftqrgg,  N 
aifUftqjHfft-  — A omits  fg;  P g, 

N R i. 

8»  NOR  5R5*.  _ PW  N — 

N STU 

8*  Mss.  gg>m:,  A qi^.  — PSTU 
omit  m.  — P gfqrar,  N fgftg^, 
0 srfyqgt.  — SU  §qr- 


[6 


qifturf«^5fi:  I girrH'  I fT^Tc^chliU 

I wm'  i 

ftSRTOT^TW  rT^  I 

^ w ^nrfl  ’TO^TTT^Tnfcqrrr^  ii  ^ ii 
^ 3TW  ^f^feRTO^  fw|^i!l  ft  ^iwftr  I 

fti^wr  w II  ^0  II 

^Tuafi:  I WT  %T!!  I 

mfimf»a<#:  i 


8^A  mft*  ui^  — ANO  B Hint, 
P w SU  F^- 

8’  P g«a<H'e{-  — PW  OT,  NOT  ^551,  R 
s^rfef , STJ  533.  — BW  -qiiTiI.  0 
°3!^,  SU  “9!^.  — AW  jraojfo,  T 
HJ|iih^C3T°  — A °3)gTegU<Ii5l>  B 
°H'^i3>ii5i.  P °5rerarsT“,  W “cruobt- 
iriujTcRr^55T,  N oqt^rgron,  O »qi>jT- 
a5>nw,  R °3fgRsrniT-  SU  »3iiT“, 
T oqraT'’.  — A %rani55T  B 
%{3ii45j.  P 3!^rrar,  NOR  argn^^rsT, 
S <H)adiiUj5i  sT“,  T granw  artni", 
U <M«iyUU!Tn  3T“. 

8**  W omits;  N 5rgT,  STU  arg. 

9®  N aRixrw , O eRTraft-  — APW  fiir- 
5»TO%  B 5T3MaT“,  0 finw:“ , R fe- 
505%  STU  faw^acTO-  — B gg- 
53Tm  P f3  3^,  N 35?rT3ft,  O 3^- 

O'*  A qqfg,  B55^.  — ABWqrqn^.  — N 
g 3i:g  uiuii5  amr,  OR  gj?  5W? 


qtqT5  aror,  SU  gsr  (S  ciw 
55TM  uiorre,  T gnr  fro  awnii 
qiuiuii5.  — A iTgrw“,  B wrgr3“. 
— NOR  o«^. 

10*  A 531E0,  BW  5aro,  STU  533.  — 
U sKfapnaT“.  — ABWOR  fk^argr, 
N — STU  fe.  — A vjg?T- 
qfn,  B P vra^rgifk,  STU 

vrairfe. 

10*>  APSU  B »TiTgfg^,  W 

NO  oqrfgftrfe^,  R “OT- 
T »mf^ugl5  5j4;<;itRr.  — 
N pr.  — B 

10‘  A Tiift”  qfir;  BPWNORTU  5- 
arvn::.  — B gwigost,  W gwr- 
gST.  — A qgrarvj,  P qgfa^ , N 
tniFHW,  0 qgarfu,  STU'^arw- 

o 

fagg. 

11»A  q7ft“  IT°  ofn-  — P «Tg3T5r%  R 

O O 

Tjia^itir.  TU  gT^arroT-.  — ABPNOR 
STU  o^rfe",  W 


7] 


iraw 


[i.  18 


f^^‘1 


II  II 


Has<5if^Mi«^i^r*iir*i^i  I 

^»a^Tf^^afr  vftiiig'  ii  <h?  h 

wnrat:  | m Tjf?'  I ansprmtftn^  i *?i?to3t^- 

^hn  «rfwsi  31^  aiTiwifeji  ai  i 

uftsiW  f^TOiTSffr*  I 
uwiam'^  I 


?TfT:  ufcjajfrt  fewgn^  i h5  ufiAW  iratfarTwuftrarf^’  i 


ll**  Mss.  fef^o.  — A •wjfeo,  B ®«i4iff»“, 
U — P ^ ;nf^  HT  — A 

qa(hrifng°,  BWNO  P trj- 

o o 

5T^,  R trjH3°,  STU  — 

ABPWNORSU  "nafw®,  T 
— ABR  P »f?ifH,  W 

IP  A fsR  g qqrfirOTfg  iratrfH  qrft;  B 

omits. 

12*  B P NOR 

T — A PO  ®>j- 

fwT“.  — 0 — A 

B “OTr^mr-  — W °<ufaTi,  N 
fw^,  0 °fmfaQ. 

12'’B  3T^,  P qg  5^.  — B »#tT.  — 
AN  0 — ABWNOR 

“TVS,  P ®fTH-  — APWNORT  qft- 

O V9 

^rfe)  P '^• 

12^  ABPWNOR  omit  FnnaR:;  TU  jttT®. 

C\ 

— ABPWNOR  wra  d%;  A ^ra. 


12"  BW  “oKfirfijT^Si  ^ “’etiTai-  — A ♦iUi- 
3qig,  B timfisns,  P Hqifgq»g>  W 
Bqiltg.  U 

12^  BP  osft.  — N mgKiatm  3^5  wfw. 

CV 

— B fuTKii , N , STU  tiTtmi 

Ck 

(S  w®.  — B arwr,  P siregn.  — 
A argwftqr,  BP  arggn®,  N Hsgra- 
frqfJ,  R — P omits 

— B adftlim,  p qidfgTft?-  — AU 
PN  3^,  W fg|fH,  R sfe, 
T aj,. 

12^  B U4iUi,  SU  omit.  — B 

f^ts»ilfil.  — A adds  HTrUTTTnfT" 

Cl 

12^  A adds  iTT3=KTerefT:- 
!12®''^AU  only  rTH:  llfctaifd  USTT-  — P 
■fe^q^  ditjl  fqirafr*3  qrrf- 

3 — P iratf^fTT^Rurr. 

Cl 


[8 


I 12] 


A 


I ^ 5ftT»Sn  ^- 

I 3f^’  I 


^ TOfrij  wr  nsmwrf^ 

^raftart  ^ nfT  afrgfw  ^m  wai  i 

aj  «rm  5i^f*rfwT -N  TTO  -ftwaini 

(T  *TO  ftrfm  f^wfetai  ii  » 

I aj?  ft  Tift^fiftaii  Hftw"  I arar’ 

<i'n«.4l<!lii,^TC  riyu. 

tjift  •■q»<«Liwr*H  1TO  ^Tirftr  I 


12“'®!!  omits  Tran  ifg.  — B ^fernr, 
N sfiSTfllU'BUjtd",  B df*yilIIcl^UJTVI“, 
S — TU  “jura".  — B 

“fnan,  OW  “JiRTO.  — APW  g^- 
oftarftr,  B a^iferaiftr,  0 ggr^gftr, 
B g^l^arfe-  — ABW  omit  ^ftr- 
?in-  — A omits  gH° ; B fguriU«<JJ 
13»AP  g^,  B — BS  P 

O 

fafk.  — SU  w»  nr  a*  sr^.  — B 
Jik  fafk  fkarfen,  W ■’Ikr'arerr,  N 
•aOT”. 

13'’ B grtrffjft,  0 gnrrwt.  — B fawifki 
OS  IktnfH-  — P kfk,  OSU  ^fk, 
T kfk.  — P akr-  — A giwiHA, 
P fcfcHinmA 

13*  SU  SKaTeR*,  T g^geRo,  N °ahgifw.  — 

o VJ  o o o o 

W g.  — N omits  gnr-  — A g- 
— ANBSU  fkwn°,  B fegrn- 
aort,  T fk^n*. 


13‘*STU  ht-  — B fgujfa^g.  — P g- 
kkresgt,  W gn?k%  OB  "g^aft,  T 
'HHaft- 

O 

13^B  fg®,  P fggggRgr,  WO  ig?^ 
fg®.  — NB  ig  arg  fu  as^ri  STU 
fg.  — AW  »g^ifdarr,  B ®5R55r,  P 
-iasifggT,  N ®fg3i,  0 trfaaaarfkar 
a,  B “gsgifgan,  SU  °ggig-^Hj,  T 
®5i^ig%H. 

13®  BP  imr,  0 gn?r,  SU  gnj,  T grar. 

14*  P fgrkfk,  W ?krsgfk,  T — 

W 3fk“-  — B POB  ‘Tar- 

im?, N °Tannifa  — ABPWNOB 
na,  T 3. 

14»>A  BWNOBSTU  iglfk. 

14*  BP  ?tn5-  — ANB  narfe,  B rrgfk' 

u o 

— AB  °rrfggnr°,  NSTU  ‘itt^jiu®,  O 
'jrggnr>.  — BP  »rnfknm,  STU 
nnfkarnr  (S  ®tt). 


9] 


[i.  15 

^ ii  ii 

nD  si>  ' 

amferaif«:  I 3131  3RT  ^ifet^WTHaj^ 

I r*!! rrfl 

arW^s^5ra§^w^  ^ >rr^ 

n<!Sm<rftM<rJa)4!!T(c(c4|  JRf^WTWHSi 

■o 

T3Tj^H3ITTT  I 


14'*  AB  mn3“,  P urafH“.  — ABO  »a- 

\.? 

f^»,  W ofT,  N ogarfaT'’.  — AT 
WNR  fn^UTT?,  B H^nn^.  — P 
ftc?I- 

14*  A SHrf^'i  HTJOT- 


Ctld  fW f^Cft  1C  j B ) P 
QTT^  f ^ ^^^^f^r^rrTaT  ^ 0 srar 
*T^fWwT3T,  R ''gnrar,  T 
U Mft“.  — A gra  a<A»ifag°>  BPW 
NOESTU  ar9irfeaT°-  — N °qTdwi- 


14®  A gqmvig  v^:  nrg  PNR  grnfk^:, 
STU  dHlfH^T,  s adds  faql^fTt  I 
tow:  I.  — ABWOR  gw  once 
only.  — APWN  °fdqjnm°>  B °fe- 
WTW“,  ORT  “feafinm’-  — APO  srar 
— 0 wrjjTTnTOTar-  — B »«k- 
W9W,  T °<Myui-  — APO  giar  n-. 

O c, 

— A TTSarfijrqrrs,  B “gritinm^, 
PW  °grTnj34IS.  N HlHlfqj3Till«TT^- 
dy  t 0 4.1^131  fui^xilti  I B 

f55mtT33W,  SU  •’%fd5l3T°-  — A 
5ra  f35wjrraiTTnro  sro  ^nwurfe- 


jra^“,  ST  °ch4a«y4aduu,  U 

■o  « o 

4H'dlUI-  — A gro  w°,  B -WTimfllJiral, 
P "gWIUiW’,  S “«dU«f<Jj33»,  U W- 
cauTTwftn^-  — BPWO  — 


STU  wrfwwwT- 

SJ 


^T3* 

14»  A gj^,  BPWXORSTU  ^ f%. 


15»STU  — T 'uqr^°-  — P 


S »^3n.  — P oyHIilHIUl. 
NR  'WTWTwwhiT,  S ^~THa<igia<ynn- 
15*’A0R  °^37cn,  P "i^rirTt,  N 

— BW  rk%  P NSTU 


fqrferoqTTWW^ ) B lOJiTiuifafiunrwU- 
9iTw?ni>  P ftiniTUiif«f^nrflti*iy4»yi. 
W 'dlHIufm'fe^ggilW'^q , N TdiHUJ- 
finferar^qwww > 0 grar  'aMTimfafUi- 
fggiaT^mrear,  B ‘■^nwyai.  — A gra ! 


»TlTO».  — ANR  »g;gn,  BP  »giTT.  — 
A B ylyyMJiiuT«ii. 

Ck 

P xilHilMJUilUjj,  w xTl^yl^HQiqi, 
NOR  w^gralwftaamff,  S chf^ylyfy- 
qfhj. 


[10 


i 16] 


niq?m  warftiifent  ?ft3T^  ^T3Ji  II SM II 


snra‘ 


fgrrhi: 


aTRii  ^HRii 

TTi5%aii  n%am  i 

C\  >3 

ftRoPti  »ro5r^  'N  f^«THHjn  ^ ii  i!,  ii 

non  I # 31^  ^ 5^  ftt  ^- 

TlftRlT  Wig-'  I ^ -fg  awl  «ljir<^^'l  «*’^*IN<!4<- 
gi|yi|’  I HT  fewwwan^aj  rii^iii  Tn^aif 
W^3IWT^^^(^?^55<lT!!l|Tffl<Li  -<(l<;U4=irM<MV4W 


15'  N 5iT^.  — B ctiW5rTsr^^“,  N 

o o o o 

0 cR5^»,  E %3T“.  — p fxTOH,  T 

ftra«. 

15'*  A W'jHT,  N ntj^,  S TfirTT,  T JT^, 
U W«cTT.  — B n«ll<l<i.l,  T “nftl  w- 
51^'’.  — B oftrgTW-  — AP  friigHT, 
B W fijvjgn-  — BT  oIh,  P 

<afri » N zjffej  E — N 3T37» 
T m¥T. 

15*  ASTU  omit;  B arlfe,  P SHT- 

16»A  %ffhrariTflr%  P fgrtlyt  g^rflrai 
irsIh,  N omits  fg»;  S aTJff  U 
arfe  3T  instead  of  fg»;  T f^« 

— ABPWNOESU  5TC  — P 
STU  “-fono.  — A “Twhrs®, 
B °gWS^lTl“,  PWO  °<*4U|lii^'’. 

16'’ AB  7Thn%  P zrrw,  NE  vtag-.  — 
ABPWOE  °3T%3*,  N '>4jdfdd°.  S 
“^W“-  — P “fl^t^FTTWT,  W "*QJIT, 


NOE  “grfWw.  — BPOESTU  gnu- 

O 

N onHflraTr. 

O 

16' N “igirTSHTra,  0 “whh.  — B :cnH- 
7i3T*<  / N — B P 

omits. 

16**  A wggf«,  B JTggf^,  P wgiifis,  W 
N OE  wy^fT!.  — 

B =51^%  P fe,  W 3tf%  fa, 
N 3if%  a,  0 sfrf^  fa,  E «jtfi  fa, 

o 

T 3tf^.  — B — N HMifis, 

OE  Hnlfis,  T ^iff?.  — A omits 
a;  S ar- 

16*  NE  0 eRT.  — AB  >5,  P omits. 
— B avjrraJTf,  PW  a^joaa,  N a- 
ddifd^-  — P NE  5^.  — 
AOT  fa,  NESU  omit.  — B avofOT, 
P a^jrra,  W a^srfaw,  N d<^dTfaar, 
S -qag. 

16“  ABPW  yu.  _ W 5t,  N 0 


llj 


UiJW  oiiaf^5ni*TKH 


[L  16 

5»ri  ar^rtf  h|tr 

sa»  I ann  win  w warrlio^*  i inn  f?‘  i 


— U 3T5<T,  0 transposes 
31T%.  — ABORSTU  g^aa?T,  PW 
dysifyw.  — 0 «R”.  — B ^- 

— Mss.  "TSTUT*  — B 
— BWESTU  astfis. 

16*  AWR  fearowT^".  — APWOT  -a- 
37^H,  B “ufrarTti,  N "a^T^  at,  R 
"naT^aaT,  SU  'Wd^raat.  — A a- 
wM,  w cTr^tn,  T U m- 

— B »«M»«dlfd<idrn°.  P 
°jnMd)rd«n»rnjH<iuirrodui7t!‘i,  W 
f«(5^(S<iHdl«ii^4«lil«jj»  SU  WdaTT- 

T Jra- 
Hj.— AWNOR 
t B °gc(fV>ri° I P 

JOTraw,  S =ii^aT“,  T -anifaar”,  U 
'w^anrea.  — A gragr5^#i35R3- 
5T?W , B i P 

953^  I W 9)Hat^9ii3H » N 6h<?teiirC)«ft- 

O o 

3eR3^W,  0 4id<*i 3^416^1  R 4irn*fi- 

o « 

4l*eilddH)  S T 4idat' 

o o 

3^SH?g,  U ehd*d*ic*;aHl^r.  — A 

o o 

nna<t)au4en]a«cisKqr«a<«s'a'6«iTi>  B 
wdf^latti  d UTdild^  fvi  > P 

cftdnH(i4idU4»)<5  s*i  P«H,  W weiTHdeft- 
N *dd7d*dw*lar- 
0 ejidTHd^dWchlars- 

dd^ifdw,  R 


SU  ^duieiHai^de  i<liifkai(9iivif^u , T 
<*dU4*iai^Rdr=anrdgTjf^«.  — ABW 
— NR  ■>^.  — A em\3T“, 
0 a?m«.  — B “utdly , T “irtfOT. 

o w o 

— BWO  ht  fa”.  — A fd'^fia 
IfapajHlftq  TO^^ta>fl5  ar^’g,  B 
fdduiftu  tTR^rrarnrfaiqi^,  P irerf^- 
^wTTniraTinift,  W fafarfr^ORTawT- 

^aRU^,  0 fafaiftamR^",  R fwrftar 
tja^rwJJW  arf^snr?,  SU  wftartw- 
T iiOTftaTqRifcRfT^affs. 
— BPW  a^T*3,  N BtiWd,  STU 

C\ 

awcm^Ra.  — AP  3rf%r?i,  BWOR 
STU  srf^,  N 5rf^.  — ABPWOS 
ETU  — ABPWNOSU 

omit 

16*  A 2^  naTRTWTg.  — AWO  gnrT> 
PSTU  5fg;  PNR  add  f^.  — B 
finifdd,  STU  "feat.  — BWRS 
cidlfidf  T arfi;  A transposes  a* 
— A r?W  — APWOR 
aar^,  B aaa^,  N arar^,  S ai 
aa^fcr,  TU  erg  aa^.  — AW  g^, 
B raa,  P N a«i,  0 g^,  R 
g^oa,  STU  5gg.  — NS 
16*APNR  rTOT  fg,  BWO  ar,  ST 
cTg  fg,  u omits. 


[12 


i 17] 


^f%3niy^f<a«r^<^i  -^narfTT  wfin^  n s®  ii 

sO 

airf%  ar'i 

HTO  5^  ^ ■smfsTO  in.^-^ 

irP5^  f?3TfT3^ TI^  ^ ln^y,^H^I^HW!i  I 

?iw  TT%>wt 

vD  > 

■f^  ?iiFT  aiTO  1 ^nNiKt  II  ‘It  II 

fa^tra::  | >?t  wiira  TinTjT  jRgr  ari?  ^ sKT^nigftaTt'  i w 
n Tnm  TTtTsraiHR  anftf  i 


17®  TJ  “jiTftirsTr''.  — BPSTU  ‘HTrran-  — 
A cwwMawww,  B cRWsM-,  W «- 

o o 

WtM“,  SU  WMsHWWW,  T «5W5«“. 
17'’ABPW0R  «3lfr^(j°,  N ‘al^rf‘.  — 
A — WNOR  ‘5r3T.  — P 

17*  A eF^^»,  BPNR  . W gjoRT- 

S5rf“,  S H3iHgi»ig%tWT,  7' 

U HyrfgTRg”.  — ABPWNOR  '5T- 
5T.  — P 'ftlTI5«,  N -fetci^-,  O 
‘fdujTg',  STU  «fiirfeng»,  — T 
^rfe«r. 

17d  B — ABPWOR  gfa3«.  — B 
‘rraqf^',  PT  SU  rTOufj®r. 

— STU  wrarfH- 

18®APW  BNOR  — A u- 
ftf.  — B f^,  W fej,  N — 
A rrtlftrrrT,  0 

18*>  B feg«,  APWNOR  «?rTT.  — BP  q^nr-. 


— ABNORT  P 'fg^.  — 

B °®gitr. 

18'  W — BP  •^.  — ART  oftr- 
5nir°,  B 'ggnir,  P "gfgTni°,  N *fti- 
3OT',  O — N fggTfSTO, 

R twfg. 

18<*P  ‘g^granr,  N ’drig^W”.  — R ^- 
aroft  instead  of  gggr.  — N wnij 
SU  arro,  T aro  «•  — B greawgr.. 
18*  A firft  fagaa>;  gt,  T omits  gt; 

C 

U anft.  — W gsafg.  — A sni 
oira,  STU  ar^  — A omits 

BPW  SU  Pca.  — A 
T qfscrl. 

18®  A mrrfe  a,  0 gg,  SU  g^.  — 
A ggggr  «wt),  B ggTTg  ggraft, 

o o o 

P ggngg  ggrg,  W ggrg,  0 gg- 

O O O 

TOT  ggfr,  R ggig/t;  SU  add  fa. 
A ufiamiT,  BPWO  utw^>  NR 


13J 


[i.  18 

w I I ^ uRii^’  i 

fii|<ra:  I swhro'  I 31T  ^ «f<3rt¥r^f<ll  f*Up)«M<U 

3Tf  ^ I aro  ■^’  I ^ 

Tngwft(5T%ft!F  5f3?.Mvf3^ 

TO  nf  ^nd  airfe'  i 

tiu  mRk^’  I am  ^ fw  ^(fTsj  fts  i 


ufejiTK,  S vjifH , T 
U qr^.  — A urffjaara,  B Ur^iT- 
HT?,  P omarr^  a,  W qt??n^,  N 
qtfwHTt.  0 qTf«n€,  R fffktsni,  S 
qt??nm,  T qfroswrt,  U orfrownt. 
— BWO  aiaaft. 

18*  SU  feawi  — A qr^ 

18*  A aiwurj  g qfs^.  B ott  *«mi  h 
TT,  PWO  eliHUTg  3 NR  3TTII3 
t JT^ffTnrr  Of^HHiir  (R  T 3 

afeurTOT  qiuim  %rarn?5T5T5a- 

H^3TO  aimm  qfsss  an?  ar  ^- 
?afw  ar^vcr  3uiu)ii]  see  i.  18*-  ‘®. 

18^  A Harhi  ar^. 

18®APNORSU  an:,  T arm.  — A 31- 
B ^JTT,  P q^,  N q^.  ORU 

v>  C SJ  'C'  j 

vrfq,  T >j^,  — A wawfe*°,  OR: 
' >01 

°y^fiaii ; SU  add  — A 

omits  frjn^" ; P fin^^^aaq^aqi-  — 
B omits  ^^ara;a$;  WR  arfaar^g^. 
— B NRSTU  0 q- 

fg^.  _ BPWNORSU  t-  — P W" 
ax.  — BWO  N omits;  R gjt.  — 
N ?TOI»  ORSTU  rTq.  — WT  omit 


fa.  — A o^rfwfiT,  B o^ftjqfs, 
PRSTU  'fTferSTTfiT,  N °t5fyx3)<5. 
18^  A 3T#  a qafa^qat:,  OT  arat  ar- 
18*STU  omit  I;  NOR  %.  — B qxua- 

O 

fe^Mfui.  O ■‘fdii^fqi,  S “fe^Tfafai. 
— After  qr=  P adds  aTTftfjrqa^riU, 
R adds  fftH'Mfin,  STU  add  apt- 
aa%ftn.  — A jTOTiTf^,  N Kwar- 
5ffa,  OT  SU  “33.  — N nn- 
ftqq  3dl*XI^>,  0 33T»,  T 331’.  — 
After  337=>  N adds  ciO^UeawlU^I- 
frftu.  R adds  T 

addsr5®Tar%fi!I.  — A »a%3,  B 
P W NR 

0 3aa^a°.  — ABPWNOR  omit 
qt’-arrfiEr;  T omits  wg. 
18®ABPWN0RT  omit.  — S — 
SU  °3t«(s*j°.  — U ”5aw°. 

18*®  T omits,  see  i.  18*.  — B argT, 
PWNORSU  arg.  — S a.  — After 
ar  U adds  <cai'Ofgrtij  n|3ilfafui. 
— B ^rafw,  R gfa,  S gfgfa,  U 
gcarafe.  — ABRSU  ^aiw*  — A 
ar  1^.  — N dutijtu  qa^arfe,  O 
3°  5?r^K53^f3.  R qf^arfe. 


[14 


i 18J 

feggnn  I I TT^  I VTSpiTO  rRTRW  f% 

V® 

I ?n  ^w'*  I 

I ^ My  <■*  i<i « I fen  nil  ^ ^ 

ft  ^n!iift“  I m ft3i^3jm<=n*!i  Ti^:^  Tjftw”  i 5t^  ist 

qn^an  ^'^T«  ^ ^ tb 

ftrsn  ^arft"  i ?fk  u*f(i  '*  I 


18”ASTU  omit. 

18'®  ABNORSU  T a?®  553.  — 
ABN  STU  TO. 

18'®  ABPWNOE,  omit  — AB 

PWOR  niiiw-  — A f^<WTi4i|.  — 
A B gf®T3ffa,  P gfer- 

ofn.  WOSU  qfT®T3ifH,  N ufearfH, 
R gf^arl^,  T qfdg^fe. 

18'*  A frar  P3  nfk  fn  fTT  35ra 

3W3,  T OTaraf. 

18'®  ASTU  omit  gR>i;  P HW,  NR  gw  35^, 
0 gry.  — w TOrft”*  — P “TO, 
WSTUtistt. — BPNORwrfrwsggjW 
wrft  53,  STU  fear  wrfbg-.  — w 
STU  g«ycr  (T  ?g- 

g^TTifn).  — A fa&dfa. 

18'®  BW  omit.  — SU  UT  g f«  fg  gw, 
T nr  fe  Hw.  — NR  grrarfw. 

o 

18'^  B finrarwr®,  NRSU  faaraarww  33^5 
(S  adds  8t),  T »3^  q^.  — A 3- 
dfiW,  P nfew,  SU  3fs^.  T q%w. 


18'®  A 5T^  3I®3T  mw  tn,  s Cfcr3c1,  T 

O c\ 

®3ftaBT  m,  U 3if3fl  tff.  — BW 

Cv  Cv 

mw,  P <IIWI3<U  omit  wt;  ASTU 
omit  3^  3T.  — A w 

T ftr%3Tfe.  — w 
STU  5T  ar.  — W W3^  a.  — A 

o 

9!5TO5I,  B aRHW3%3,  P 3iW5|^,  S 
3^at,  T 3iwTn5r%at,  U gtwqrw^.  — 
N fw5rTO^  3?“,  R TO5  3f®.  — 0 
fT  33?ff  a 3iW3^  fin *3^^  5T  wfV- 
tirf  sn  trfs  raffk  h trfeat  a wwiw 

vp 

Tl^arfe  instead  of  gj  W'-g^wfa, 
see  i.  19’. 

18'®  A ww:  33f3f3|33f:,  P Hfi:  irsfir, 
NOR  TT5TT  fil3T33WW  HT  (N  omits 
<tt)  To  (0  wmur)  wnfiara  (N  -fe) 
f3|q* : 

19“  A BN  ^53#T,  P ^5W3it, 

SU  — TU  WWW.  — STU 

“fiirg. 

19"  N f^».  — R8U  t 


16J 


urm 


[i.  19' 

H ^ II  se  II 

C\  n3 

feiasnm  i ■ I fttas^miTOnjrwt^  ^ ^ainji’  i 

fafira;  I (Tt  ^aUT^SITII  TTO  tra’  I 

TO?  I fsfif^frwrai*  I 3IT^i^TT!T  rfH 

s®  v3 

Jia^iMiri  ftfti'  I m araww  wsrfti^  •Nifu 

I 7T  ^ IT  'cr^3irf^  rT  ^ 

ftjTiTf^  m Trftrift  in  nt  ^ ^ i 

I IT  ^ 


19' AO  iuftHaw,  P infagw-  — B w-| 
^».  — K — T nft-  i 

c*vS(l' 

19'^  T fa37gi?TT.  i 

19'  A fg^m  un.  NR  omit. 

19-APOR  -g^Tsitir®,  B “ckhuhujs  N 

C\ 

fgIa<*yi1ITHt!T°  > U ‘’«?0T'‘.  — 0 
"snuT- 

19^  BW  fsR  ft,  0 ft  ft  instead  of  ht. 
— ABPWOSTU  — BSTU 

‘’gjTTrrr-  — W hjt  ft,  U omits.  — 
APORSTU  ti3. 

19‘  A 3TO  tgT  ftl9i  ftftrwm,  B ft 
^ n.iifgi,  S omits  ftftfi. 

19^STU  omit  5ft;  P 3T^.  — A si^, 
STTJ  — A UT.  — P ?ra,  NR 

O V5 

fW.  — ANOR  JTTt-  — A “eh-^Huj, 

O 

P — A na-Hnui,  B Hrwin, 

P xirtiuji  I w 3Hmfl,  N nft^,  0 
'di^iuiltHi,  R Hftnn,  S iT-jHitui-  — 
w wtft. 


19®  w omits  rn.  — A 035,  ORSU  T13. 
— BWNOR  ««3.  — BWO  omit 
ft  ft.  — STU  ft  ft  5ar»  qf- 
5a^>j. 

19’ ANRSTU  omit  gr^;  B 115:.  — N 
omits  H 5CT.  — APOSTU  5^, 
BW  5WT5,  NR  5^.  — AOR 
53?®,  BN  tift®,  STU  5^®.  — 0 
omits  H 5“-tirft,  see  i.  1 8'®.  — A 
N c*,5gf^iu,  R qrerat,  ST 

U — A fti5- 

sf(s,  BW  ftrsj^ft,  P NR 

ftrafft,  STU  gR5?3rfe.  — AB 

5UU?.  — NR  ftar,  STU  5^ 
— ABPW  omit  ^-355raft. 
— N 3#,  T 55%ft.  — STU  3- 

5^FT?* 

19®  S atiuid^. 

19®  APNR  omit  Tft;  BWOSTU  ft.  — 
A 53ft  ftra^ttui. 


[16 


i.  20] 


H wanfWT 

3nair  ■srTir  ■ftroro  ft  wt^w  ftar  ii  ?o  ii 
trail  nEniftafniw  ftaprarsn  ftft^^iu 

WT  fti  3TO  ^R^sraftnro  I 

firaira:  i «®hm’  I WT  ^35^31  ^ fqi  ^ HUntajft  ftai- 

jjgfTsn  ^iifwt  ^rftsg^  ^*^*01  ft*  i 


20 ‘A  “wia^rrPg,  WE,  «f^,  0 oftrfig.  — 
ABWNOE  P ^5137,  SU 

gftraTT.  — N “faTiftT?. 

20'*  APWE  w.  — APWNRT 

— B “*ulldHl*«<HUI,  p °*<an?l<4l, 
S — P dTHdriyi. 

2(P  B fgTwf"-  — N 0 °fiir- 

iTO",  SU  °fiiiwre°. 

20'*  APWNOET  51731,  B STO  555^7,  O 
2^,  — N fij.  — AP  g^. 

20'  A 7I5«t^hOtB  f^rnw,  STU  TTsn  fg- 
— A STU  gojgr.  — 

A rg(4cK4<iii  I fg«5Kijini,  PN 
fg-  once  only,  STU  fg°  ■fg“  nsg. 
— B xdd^Tidi,  P Tjdiimrj 

o o 

ar?«TW,  w gjTrTW,  N g3Tgw. 

■o 

S feg  I <K-HUjlii,  TU  g5T°-  — 
A wrihiff,  \V  g3T7^'i , N 

O 

R 3f77Tin.  — A gmiifgfidH3MJ 
U,  B HT  ^ fii  OTir  fgfegT37Tr,  P 
ferfariisi  H7  37^  fc4  rTaTidio , W ffT 

37  fc(  f^Tid  lo  , NE 

V? 

omit  fg»;  O f77  ftii  OTT  fg%  T fg- 


?t73U?-  — ABPWNOR  omit  t?- 
aljjl;  T T^tw.  Here  A inserts  g- 
5!17li  fa  fd<icKi4IUI,  B 5R^ 

gg?  fn,  P an^Tir  %,  W gg?- 

O VJ  VJ 

'sni  fa  gar?  fg»  NR  or^nt  fa  or?, 

0 eft <i 411  fe  Oi?  fg. 

20^BPO  omit.  — A gr  gru?.  W f* 

gg^  omits  gr.  — A geR^»,  W g«R- 

O VJ 

?|r?Tg^,  S ah?3^».  — ST  finf^si, 
W fdSUi.  — NR  omit  ^g7.  — Here 
A inserts  Orgns  I g 3307  fg- 
(ac>3  grTgg,  BNOR  3gf  fa?w  3i- 
ig(NR  ‘■?»)|[?Tgf7nTiar  (B  °^)  fe- 
37  agr,  P 3^  fatjw  oi^gsrgftirrg 

cv 

ftggr  xnn  3gf  fg^  g^^angtw? 
gg7,  W 57507  fife  03  g^fogg- 
Tgr?  ogr  fg^cKaoii  og  3^  fggg* 
orfeggTgfiirgorar  fs37  og7. 

c\ 

20-'  A gahhjgiis- 

20^  A 5^.  B ag,  P og,  W sgg,  N 
oorea,  O area,  R goa,  STU  nog. 
— APWT  ggr?,  B fg^,  NR  g» 
3^,  OS  gxfT?.  — A g^agrggf, 


17J 


xmw 


[L  20 


I 3T55T  HI  I ^ ^ ^ I ^ ^ 

Ttnrwftp^ftr^  f^  ^ Tnift 

TJITR^  rfP^^TR  f^3T 

^ T^rfriTwr'  \ 

fafw:iTTrgr^^  wfitM  airw  t*t  i war- 

n3  s® 

f^3T  ^flfftrf^Tnhn^  ■fet  rrarfgr- 

ainsn  nlTiyk  fgar  gj  i cnn 

fg  ini  g^arfifi"’  i 

N® 


B srsaruwt,  P n«aHTvmrf,  W iT-l 
wivw,  N MTrfrgHi.  O weavuft.  — 
BNR  Jiffa^,  STU  — AW 

BWlft.  — A adds  30?  I STU  fifi  i 
93  WglOtr^W  HTW?  raycK«<UI  com- 
pare PW  i.  20*. 

20*  A 5s^  9)«o,  B orf^,  T q;:q9?:- 
a.  — ABWN  3^,  P wa,  0 a- 
m.  R sirea,  SU  95a,  T 953  Pisa- 
PNRSTU  omit  3.  — BW  affa». 
— B f9«9Htf3,  STU  faHijj^. 

Vj  O 

20^  A g^isnrramn  fiira,  B f9i«*WKT<9i- ! 
■fiirfef^^,  P r*i=n«irmwci<ii  f<iitif«u<4),  | 
ftnJToRHT® , N 14*14.11 3il«i 

ftjid filial)  0 fpTJTsKHRSTPTalTTT  Fuid"* 
R faa4ah^tq<H3rtmir4ij3°-  — ATUl 
omit  fa;  BP  a,  S 3??$  fe-  — AP 
H**mi,  B cfiHWKT,  W Hcjwrn,  NR 

uu  o u 

¥bnTT,  STU  H^mHI  omit  3.  — 

V9 

A 51^  I 9rara^?9  'fen  ^<*14^!  1 ?t- 
nr  I ?ffe^  — BW  nfepnn,  N nfe- 

VJ  o o 

5nw9i,  R gfefewp,  0 grf^ar^^ 
fear  wrapnwTmrar  tffdnrp,  U omits 

■o  o o 

fear.  — B ^afenT9i  NR 

V ^ s> 


few  arfe3  (^  9rf®3°)  9!Wtp  (R 
399)  ^aar  *i  i*-i4?^h***i  i*-i  i i ^a- 

VJO 

few  39T9  fear  aiagvjfewm.  — A 
rrar  9i9ll9 1 N 0R9TT9,  STU  gnpife. 
— B fe.  — A aiaridifeofiui.  B ofe- 
5TTnT,  T — A omits  91  TW- 

felTatT-  — P omits  9r;  BWU  w 9T- 

O 

— B ^^srir,  P W agart,  N 
Wg&gt,  0 RU  T 5- 

_ '^Before  9“^^BWN0R 
add  wife-  — S gwfeiasnafeW' 

20*  AB  ri55T,  W rtsw.  — A Q9T.  — A 

o « ^ 

5^,ai  P fen  instead  of  fe.  — A 
STU  omit  9T-  — STU  afegTT. 

20*  A «na.  — WN  feg?9f?».  — BWO 

O 

°jnfew.  — A B qfen%. 

P n^arn,  AV  nfen^,  N 
0 n^nt,  R 93939,  T afea^d^p. 
— N — AWO  39tIt%  B 3- 
nfe”,  P prf?:%  T fear«,  U nfeig*. 
— T nf^.  — W fea.  — B a- 
3^9^.  — ABPWNORT  ai«Tt4S- 
— STU  araa^. 

20^“  A nai,  NR  frgr,  STU  ?t«.  — A 

2 


[18 


i.  20] 

firaOTi  I afTssr  I ^ nrf^'^raT’  i ■st^f  3^ 

xrtKrart  Oai«M<f  ftt  f«ira^3irfe'’  i as? 

^ iT^  ftaj  55««MV  f?  sj  ««)<aa<rJ^!  ftra^asrfK"  i 

s®  vO  sD 

ftim!:  I IT?  H 3?  ■smi 

wmlaii  afr#  ??f%  ^3wi3iw“  i 

ftragiin  I as?  f?  3S^  p H- 

gf?  I 

trai  I ?asw  W ^ «?!”  I ?!??$  ^’’  I 


omits  fe.  — B fra,  NR  hst,  STU 

O O 

— N ofs^arfHi  U dTuil  sir^- 
20^^  ABPWSU  omit  wr  ^OT. 

20^^  B fs?%,  PW  fiT^fi,  SU  fRF,  T fT- 

O O V?  o 

— NR  STU  omit;  APW 
♦jH  grTT^TTH'  A.  ^ U^5°y 

N -ftrfew,  T STf^iTgT. 

201»  A n^.  - BW  fra,  NR  fw.  — R 

VJ  s> 

omits  nn*  ■fesT-  — NSTU  omit  fe. 
— ABPWNRSTU  ?anir°,  0 TUI*. 
— w 'fTwrm,  SU  ofi»iTO.  — P 

o o 

fiirasiW^,  8 ftirjggf^airfe,  U fin- 

20’^  S omits.  — ABW  igsn,  R — 
BPWNOR  fR  ra,  U omits.  — B 

T <i^  I ftlST* 

o 

— N omits  qj.  — A neng-<;t^mifa,  B 
HWITfrar  I fivibfl  (illegible), 

P WOR  fra^rsra,  N eKan^cROT ; PWR 

o o 

add  fe.  — A jsrrfw,  B see  above, 
P fijT^fefesirrfw , N ftrrfeiwfw, 
TU  (iu^iniT". 

20’®  W ftr”  frwhj.  — BRSU  msg.  — 


BPWNOR  irg  wiTH^<j,  T 
omits  — A a,  P !JT,  OU  5T, 
NR  omit  ig.  — A B ^- 

fisTsi",  WO  wfigfgri",  N8U  , 
B — ABWR  'imnc'’,  P 

"jiT^Tirt,  N ‘wra',  STU  'wra“.  — 
ABPWNR  'yat.  — ANOR  at»ra- 

V» 

ST^.  — A B frferT,  POR 

STU  omit;  N — A frtfgw, 
P , W STU  m- 

S3!Wi- 

20’®  P omits  fara*.  — ABPSU  omit 
fii;  P inserts  fnr;  W fr^  g- 

o o 

Tirt  ^ omits  fii;  N HT  SR  ftl,  0 1^. 
— A grai” , P *U?Wli  omits  mgra- 
tt;  0 'inifpow.  — ABWNOR 

o 

•usf.  — A siijijJM,  N sTirasR.  — 
ABPW  omit  0 — APO 

prftftr,  B NR  STU 

omit.  — S ure?rw,  TU 
20’^  B — ABPWOSU  omit  m- 

wu,  NR  omit  ira;  T irra. 

20’”  P sturaih'^Ttuj.  W grarTO,  SU  gR- 

O 


19] 


vraw  5raf5rafT»?m{ 


[i.  20 

fajOTi!  I 8!I!Mh'’iwt  9N  f^iTO  ^Tjftairf^  afnfro  ^am 
f r<as<u  r<a^i4l  w U|^<h5  ft  §^ft”  I »fii  oft- 

fvddiUT  I firSFI  ” I Trff  iT^  orff  ^ Tjswifftsir  JT?!”  I 

ft|ra;  I aftraofan"  I ^ iff?  orff  Hl<|(;  TRTn 

Tfi-R^Tt  n?T“  I IftHW  TiaTww  >1?  >Tl^  arf?  ^an  •^- 
«fl«T  ftaini  ^ftft  TRji  x)»€na  ■g  uisfti  js- 
^karf^  ^ wrftra  ^ wi  aufro  Ma^Tlarf^”  i 


B (Jtfeicii , WN  fujfdd  1 , 0 Trftftn- 
T finfgfcrar. 

20*®  A 

20“  NR  omit  hT-  — AP  3sgra-  — A 
g^,  B xra,  p lOT,  w OT,  NR  ht, 
0 STU  5ca.  — A wni, 

BNOR  iTORT,  PS  »rore,  W 
TT^,  T wnftr.  — SU  — A 
^TO^^finrzz^rfi^nrovwahir  fii  ^* 
uuiwuluHHlmwfu  B ’gfia^si- 

PW  sftqg  (W 
"^)  tiifdti^uf^g'gMm^dVr , N ^MT- 
zqfdiHtPTtdl<^fji'gif<Hui>gd^in.  0 

^ 'O 

STU  (S  <>^“)  aff^- 

(T  rnfarTHOTwrawgrTO^- 

rrol  (T  “jrasdwtj)  omit  fii.  — 
A ma,  BW  ura.  STU  jn^. 

20**  A TT5TT  ^ ^ 

c. 

fara  afrafTwfk.  P rrar  aa  itra  fe- 
Z99ii  afr,  W afr>  rran  aa  ^ 
fs^aa*:  ats  ^ Hatvwrara  aft®, 

Ck 


R rran  aca  ara  fadaa>:  na^hi  aft®, 

U omits;  ST  omit 

20“  B omits  fg^o.  — A ftnjWT^,  B 
NOR  omit. 

20“  N aa  rrfis-  — P 

— W n uidia,  STU  z-  — NO 
asai,  R asar,  S jaa®,  T u^r,  U 
asa.  — A ®araftaaT,  B °qr^wd1- 
ar,  P ®ar|ftaar,  W •aratftrar,  NOR 
arfaar,  S T aafaar. 

20“  A “oftrar?,  P fa^  aftra®. 

20“  W TO,  NR  aar-  — AW  B 
ww,  P fa.  — STU  z-  — B jT^, 
P asa  arara,  0 ama-  — A a- 
la®,  BP  a^®,  STU  omit.  — T 
nfHdT,  B aw.  — After  A 
adds  aai  a,  w adds  to  a- 
20“ P ar  a®,  0 aftaar,  STU  tftaar. 
— A Taa®,  BPWOR  tt3®.  — SU 
— A aaarf%.  WR  aaw, 

o 

0 M'EuiUt.  — A aa  arftftrfe  ai- 

rfe,  P aa  aaaaaffaara,  N aa 

affawa,  B aa  aaffawa,  SU  aa- 
2* 


[20 


U 20] 

fe-rawi  I ff  ^ 'fc^fd?  's}  H3T^ 

^ aj  ^ 55  ^ arataiH^ 

I 

fejOTi;  I an  ^T^fhj  jftt  wi<*<,i^4 

I m W5  <T  g4  ^ ai 

wgro^^re  »^5^<uY  ai  ^ Pimir^ii)  nf^- 


5^sff,  T fwbtTht.  — STU 
— 0 wfai-  — OU  ai.  — B 55?- 
for,  W 55ff#,  N 5«fer»  0 5ar- 
ftjj.  — A wii,  W »ri,  N 
— A 5Pcfk,  BWR  {f>T<nst  N (410)^, 
S 5rr?anr,  T sktit.  — B ERsjvi, 
STU  5nst.  — 08  ST.  — A an^- 
B a?ii;Kuii,  SU  arrar^HT-  — 
A .3 31  Ha ) N u^Alaifk  > S UnstoiI* 

w^,  T U fhrHsgffarftf.  — 

P omits  w^-q”. 

20^^  A ^ fagwiis,  BPNR  — A 
^ f%,  BWNORSTU  P 5rq. 
— A BPWNOR  5T3H.  — 

U 

AN  H)  B 3 instead  of  z 
W omits  3;  P ^ irq,  U qsq 
Z-  — P ZZ,  O »Tt3  S,  STU 

o o 

— After  utg  A runs  51  aTFtq?T5 
3 15H Hi  I ai4u  ^ I 5?  wqq  frt~ 

Hlquit  ^ rT  ^ ara  q ^rfWci 
arte-  — P omits  5F5“;  SU 
T — P UTT.  N omits.  — B 

ffnrtqqn  wrqq,  P vmqr^r  CtImItihi 
w%*qT:,  WO  w“,  STU  w 1h- | 


qransit.  — SU  — OSTU 

— B — BOSTU  omit 
w;  NR  q.  — P H,  0 q S 
T WTB  t.  — B P n- 
fr55ra,  N 0 fferg,  8 

T a[7^55T^,  U ^rft55t?.  — P 
amtq«,  S qqq?re.  — B aVgfrq,  P 
W d^^graf-  — ABO 

^qfcir  P ^%f^i  N SU 
T 

20*®ANR8  aq:,  T am?.  — A dwlqfa 
fd2T*o^,  S q^  5?5ajT^- 
f^filT  qqj  »?5rftT  w and  omits  the 
rest.  — B tzi",  U g?qgH~lF^fin  Z- 
ZT“-  — ABOR  qi^gHar* , P 
qq“,  W 5i>fmqaT°,  N sFtH^aTH”,  T 
qi^ftqf^futi  U omits.  — BNR  »q- 
5%,  P “q%fin,  WO  -q^.  — A 
“HfdflU  t p omits  ?5®r;  O M^fbi 
T U ?T*wl- 

— A q qq,  NORSTU  qaq. 
— AN  omit  it;  O q,  STU  w*  w. 
— Mss.  Mnrfq  (N  qfqifq). 

2()2»  O omits  FTT.  — WNSTU  inr-  — 


21] 


[i.  20 


fa^gnn  I aiTf  5^  iTsi  "fer 

TTT^  ‘ ^ ^ ^ Ti 

Tiqife3T  yf^”  I 

fcTsrra?:  I (juiru  xrfrorrwfH  sraf^^tr^iT  fthf^ra^!  ” I tf^  ^ 

s^tarf^  arf?  ^Rft  i in  anst- 


AAVOK  •svrarw,  B -gsmiTw,  P 
"5iw?T,  SU  “gsiwrrw-  — BPWXOR 
Mfiiigin-  — SU  srrftiT  a.  — P hw 
ft,  NR  fW,  T FW  arfti  and  omits 

O O 

H.  — A ?rftg,  W 51^,  NR  FnsR, 

O 

S — B tinnin“,  R ^firsr*,  T 
Uiujuil”.  — A wrfggnrft,  BPO  tEfr- 
tararsTT,  STU  — A sninaft 
instead  of  ; BPO  omit;  WRT 
Wtnidt,  N 31^,  S :jt.  — PON  51- 
%fs,  W 51^,  STU  5T^.  — BPRT 
omit  NO  sr,  SU  or-  — B um- 
rfisfft,  S umndi,  U — A 

iiifwu<M%  B iMfaq^l,  PR 

4|rll(ji|u<^l , N , 0 J|<?l<3’’, 

SU  T ir%«.  — S ‘af%55n,  T 
‘gfe5HT>  U °8|fH^-  — W 51^, 
NO  FTsfe,  STU  51^. 

20^**  A fiittcuui  ftrgfa  — AB  mir, 
N ft  3tir-  — P a^,  w aw,  U 
omits.  — ASTU  omit  pg  innaw; 
BO  have  p®  w°  after  ,1131°  • — NR 
P33.  — W prarm.  — B ft,  T 
aca  instead  of  ftsT,  U omits.  — 
A znpnia>ti5H  adds  trraw-aftw  in 

Cv 

the  margin.  — N tlPPT,  S P|c>p|, 


TU  qraittift-  — U ^ — A 

fftw,  PW  SU  ^ftpa.  — 

A adds  fTOT  I aawmnftraiTPRRR- 

O N» 

pipiia^  OT  aftft  taftaj. 

20^’  S omits  g;  TU  «.  — A aanaiT- 
^spFaatTTamniavft,  B °ai^tatrw°, 

VJ  o 

P *aTa°,  WN  »ara°,  R “arc*-  — 
0 •qrfgBf',  R °unna5Ha°.  — BP 
WNR  -’aat.  — A aft^a,  S %?•  i, 
T aft  a,  Us  aft°.  — STU  sung^ft 
omit  afsaaa;  A fftfxnaa,  P 
N vnft:4 

203»pwo  ftstras:  aft  a a (0  aa)  a- 
anr  (P  oaat°)  fin^aaft  (0  -aro)- 
fapiftyt^ipiad  ftftar  vfwHwfafH 
aai?m.  — ST  qfttMaa-  — A ftrft- 
SMjfrh 

20^3  A ?fta,  PNRSTU  4fft,  W 

ft.  — ABPWNR  rra^,  0 5na^. 
— W sTTu,  O sa.  — A asfts, 

e c.  o 

B aaftft,  SU  T ^lar- 

ft.  — A grft?,  B aft  — BO  g- 
*a°  ?ta  ST°.  — W aaw-  — A 
traaft,  B qftfa^l,  PWT  aft*.  — 
STU 


L 20] 


[22 


faffoifi"  I 

ga»l#f^a)^4r«<%)S<Ufw>Tt|t«<ir<Hl  T!!an!!^4M<U 
fw 


fefra:  I ^ s ^ H aunfiroi’*  i aJt^  ^ 'N  rmn«t^**h  aro- 

sd 

#ai^”i  W ?^*ri3W  TriMwi  ?f?3ii 

«l  TTO  1 iiit  fft  g*fnff  n*#  5^  ^ ^- 


ifHv"  I 


20**  A omits  fn-  — ABORTU  “irsfa. 

o 

— A fiuy6iHvj<r*j  awirJ  I B %- 
iranvjic(4:<iiuT(i , P finzraflw^nww- 

vj 

W fijiiRm>jTTTirrjrawn?5 » NR 
ftofar^fstiiT^  gmiTTTiTTwywBf 
0 finar^wvrrawn^,  S ftiniariwr- 
arerJirf,  T ftrar^nc  natar  vKfiuiJ  srt- 

>o  o 

wiWTOl^  arartiff^,  U tost 
fiir3T2RHjtr<ywuiT  — A ^RnF^rrcr- 

^ cv 

art,  B "Tmart,  PW  N <>??- 

V>  O O C«  \,9 

Hrisft,  T ‘fT^rrat.  — A ftjqiri,  BP 

o o c^ 

wo  ii%,  NR  omit;  TU  ^rn?.  — 
NRU  omit  gira;  0 ggisBr,  S 
T sg.  — A fro%^- 
20*®  A ^ ^Jr3n  «i,  BNR  0 

o 

^ra- 

20**  A fyniTHUIW  N omits  — A 
aiggi  gi?-,  NR  m^3tT  cR?»,  SU  gi^- 
fr^,  T — A grfqgjHTm, 

N gj^oTTOT  cR^rnn,  R sfifror^,  STU 
o^raararn.  — B gi?f<j«,  PW  g;l» 

STU  g>irtH?.  — A mmiimi 
N Tinn-Tll*43iunu,  SU  aT5!W,  T 


ajaituuiismnir  omits  ftrarr.  — A g- 
PW  wnsnrT*-  — S adds  ar- 

20*^  NR  angn^,  U hto:. 

20*»ABPWNRU  omit  fro«;  ST  fg^- 
angtuu  — OTgj  ^ once 

only.  — S STTarfiTW. 

20*®  B ST^  and  omits  g^  fg;  A fg.  — 
P fu««wl  fgggg^TOT,  W fg>  gg- 
0 garwt,  T faa<gwmm , U 
*aai*j^. — Aar^ftrga,  Uar^wnr^ar^. 

20*°  BO  ^af,  NR  arCOT  — AWNR 
omit  gr;  SU  sft.  — A g^aff^r  N 

O 

SU  “^gaaT,  T <^.  — A 3- 
uTfTn,  P z’  gr,  w z" 

N -aRBi,  T z- 
vmm,  U argngng.  — AB  PW 
3ifgg,  N tfgar,  R ^ar,  S t^st 
corrected  to  gi^aTi  T >j^aTi  U gr^aT- 
— P WT5  grwi  ST  arT»^T^,  U ar- 
jgsTW,  APWNR  gi^,  BO  g^jroi 

o 

gihs,  ST  fgsT5,  U gifl'^^j. 

O "O 

20*'  A anR«t,  B am^.  — A 


23] 


XTERT 


[L  21 


feoawT  I ITT  ar^^Hhi"  i ar^sr^aswi 

ftar  «*llM*ll"l«l<a  *TI5^  I 

aa?  I ♦j«»rTiayHttw^*  i 

ntaT^»TNanifnaT^^an^ 


■3T  •sTRi^faaTgTW’jtt 

TO  W ftPil  f^lT  (I  ?«)  II 

ufdTei  Tiaigw^ 

1 9iraT![  aiTTO'  I 


after  w»g;  STU  waft-  — BWO  w 

^ o s> 

J?fnoi  4JQEIKIT-  — A WTO)  B T313> 
PW  Hijfa,  0 iica  w»5,  STQ  omit. 
— N — A a instead  of  aur; 
TJ  omits.  — N fjirfe".  — BPW 
NRSTU  -waf.  — B NOR 

gjfarvi,  SU  qulfawTl.  T graf^ra-  — 
APWO  add  rrgn  wfeCAW  -a'’)- 
^warar^w 

20‘*  A % aft  WT,  SU  WT  Hi.  — an  ar- 
BO  P arwwvia,  R 
omits;  STU  ST^^- 

20^*  A ^ arwinfta3!^i  B s!wtCTH«*% 
0 °gif#.  — APW  ig,  BOSTU 
omit.  — A ^ PW  grft- 

STWafi,  OSTU  greiFft-  — A ftaft 
instead  of  BPWO  omit.  — 

A ftHWW^ST  I W^ftftWT)  P 
— AO  omit  ftar.  — BO  'jrfe  53t 
P »iftf  V,  AWNRT  °IT^.  — PW 
add  fta,  NR,  add  ftt.  — A in 
the  text  only  uft  afift  and  adds 
ftq  maaci  afift  in  the  upper  mar- 


gin. — BWOSTU  nr^arn,  P m- 
aifi,  N nrafrfi,  R nr3arfr.  — PW 
NO  isHa,  SU  aft,  t arft.  — 
NOR  add  HI  aamlaf  aft^- 
20*^  A awf  TO : , PW  ftwwgreiT,  NR 
omitagf. — BONwwwwd*,  W“wtft. 
21*  B JiT<ifH°>  N *TTaTwnftaT?a^° , 0 ”iii- 
STU  •?nna7^».  — A »Tifti- 
am,  B PWO  ->am,  N “w- 

o o 

ftaim,  T “wfftaiTO. 

21'’ STU  aftm.  — APWR  =aaft,  B 

sj  o 

ftswwwaw,  N dftw,  O °sara,  S 
“dfft,  TU  *TOw.  — B ftrf5r%fa. 
N f<iiw8°.  R ftreni®- 
21*  ABPWNOR  gnft,  AW  ftfta-,  BP 
ORU  ftfta»,  N ftfta^aT”.  — B 
“wftnji. 

21<*  N RT  SU  — ABP 
WNOSU  sg,  A irfa.  — P ftitigi,  N 
fearwT.  — P ^ OT  arfe^’. 
2U  A sTO  toHu.  — 0 
21^  A fta°  aftf.  — N aronrmwHj  aart 

c o 

fd<^ifa  waraiai. 


L 21] 


[24 


^ I I 


ot’  I # jit  jj jsm3T»!rr^  wsjtarf^’  i 

fef<ra;  I aifll  I 

TTSn  I xri^’l 


fd^Hchl  f^RhW  qfd^frt^ 


WWH-ri;  I 


titITO  jn  fjj  WTO  ■3TTO  ^ jit  ft  n^nTOiaii  I 

3frf^ 

T^!?T  ^?!5T 

fm  ^ ^ I 


21*  A Tram-  — N rrsTT  i ^urTi  wtott- 
1^.  — T H.  U i?Ti. 

21^  N omits.  — Only  O and  occasion- 
ally SU  have  W^TStHD^;  the  others 
read  here  and  in  the  following  MT°. 
— A 4TOwfg,  B OTfewfe,  P 

^11  f^ti  fg?  'dd  TdH  r<5j  B*  f(S» 

STU  3cIR  3^. 

21*  N omits.  — W — A Ut  ait  and 
omits  BPW  =fr  wt  — A «d«ilT3Tt, 
P ‘33rtTgt.  — A 3^^i.w?T°,  B 3T^- 

O O ^ 

5wg%  P %T5a5>ra%  W ar^aswar^  — 

o o o 

P wTtrhrfg. 

21"  A omits  f3g'.  — STU  »re.  — APW 
fsR,  BO 

2r  NSU  n^ar  ira?w. 


21*  B ®«a«r«° , N °wa  fd*<fw°-  — NR 
add  tlifri* 

22*ABPWO  Wfft  m Writ  IJT,  N RH  IH 
fifi  ?!T>  R Rnl  ?!F  rdril  Iff.  — AN 
^ 1%,  BPWO  ar  f^,  R 3 M.  — 
STU  fa.  — ABPR  gnw,  W 
N 3Tnn,  0 n^rtit.  — A v/ror,  W 
amn-  — B fa  on,  O ar  jift  fat  ft, 
STU  fa.  — PWRS  «RTgT,  N n^- 
txTRT^,  OTU  ''Rrsrt. 

22>^BW  foamt,  PNSU  firamt.  — N 
fwf%3.  — T — PN  M- 

aiTRTi  O ar  3ttrt. 

22*  A ami  3- 

23*  P ^ tsT,  O — APNR 
Ptivadi,  B fafhKadt,  W fdd^gdT.  — 
0 wrfdTT. 

23*  A mri  B wai  jtr,  T ro^ 


21®  B famai,  T a%fa  fnWiMi.  — STU 
ri*i  wtj-  — A fajiftr. 


25] 


crau  siarfHoRT^rirR 


[i.  25 

?T55rr 

vwt  wr  II  II 

^'1 

wfiRWff  I 

TjiriT  qR^grrn^^i^ 

^Tt^T  II  II 

sO  sD 

11311  I aiTTTO'  I 'd<4r<4«5,  H<4H«"<r  I 

w<SM*Ti : I dufaw*  I ^iT<t‘l 

nsn  I ^ fq  3T5rfef  ^ I 

WiaTH-ri  : I 'O 

H ft  wftns 

HW  ft  ISIS  ti  ^5fi  I 


?m.  — ABPR  ftjs  — ABPW 
gr.  T w.  I 

23‘  B fw®T.  — N wtsgi.  — 0 5T.  — ' 
T -^. 

23‘‘  N cRTrTt.  — AEPWOR  wrfe,  N m- 
fe,  S U 

23’  T arfe  h- 

24*  APO  B ‘■w^iftj,  PU 

NOR  fti,  ST  ST.  — NRT  §stt,  O 
dad  I- 

24'*  A tstto?!!,  O ^rinnn.  — STU  g^». 
— ARSU  °ugijTu,  T -uauKU-  — 
AWORS  BPU  — B 

"feggrfig,  P °f*yif^.  NRT  ‘%sTrp. 

24' B P Ti^.  — A ‘'dfuuiui. 

NRT  -ggdtn  — B f^. 


24'*  N irtjt.  — B nr^“.  — "W  *?t^- 

O SJ 

tfut- 

24^  ABNRSTU  gg*.  — A omits  w?°: 
B ^mz- 

24*  A jqalvii  m°,  B omits  vr. 

24*  AWSU  3iTSRa,  B gjrreo. 

24*  STU  fg.  — T fgsTH.  — P sttS- 
fro,  SU  ST^t,  T ST^^ftsT- 

25*OSTU  fg.  — T — B gg- 

S» 

vn°.  — ^y  '^gg,  N °gfadj- 

25'’  B #wftr,  0 qwfg,  T g^.  — AB 
PNR  Tfaw,  T r?  — B 

SU  JT^.  _ B Tire|,  P jirw^, 
ST  wi^ 


giTOTssrafji 


[26 


L 25] 


rT  T!rfw  ^ IT  IJT  II  II 

C\ 

WT  >T»!!  'Ni  ^i^3T^'  I 

irat  1 ft^’  1 ^3iTO  «5tij’  I qrff  fit  aiji  f^  H%51- 
ftF*:  I airfisr  ^ xsjm^naftt  i rrff  nc 


Tgife  «**nu<*li  f^‘i  H T«i  aftnsjtaii^’ I 
«<«yMTs:  I aftniftafTt^”! 

TTSTT  I anRTffa^  i 

MiaMitft  VZITST 

HfT:  BfgrorfT  udi^iiuj  snfeKT^^  I j a^arafifT^* 

TT5TT  I 3it^  ainBrftaii  ainarf^gj'*  i 


25' W graq*”,  STU  — P ^ 

muTsft. 

25**  S tiifriwaui,  TU  wa^-  — ABR 
NOSTU 

25‘  B WOT,  S wiTT^.  — A g!T3,  BW 
gife,  P afcft,  NT  giftsTa- 

25^ABpVnOR  omit. 

25^  AS  omit  aaror-  — N yr^,  Rot. 

o 

SU  gi%f%,  T OT  instead  of  wir. 

25^  S ar  aft,  B ftwfri,  PWO  ft  ft, 
STU  ft.  — B arjsa,  PW  araft 
— STU  ft-  ar-.  — A aRTin°-  — 
Mss.  »^anj.  — N w*  ft".  — 0 
(and  R in  the  translation)  adds 
ft^  ftg  3Ta  TToTT 

25*^  N omits.  — RT  omit  — AB 
PWNOR  "sft,  ST  nft,  U »ira.  — 
A 6irHm,  W arataw,  STU  a- 
gafti?. 


25®  N omits.  — AO  ar^,  B ar^ft 
instead  of  — W gaffTOT",  STU 
a^W".  — Mss.  "T3TO- 
25^  A nar  a-  — Mss.  — ST  anr- 
^ wiaitridl,  U vr?T"  wr^. 

25®  0 anftrarfe.  SU  omit;  T aaftrsa?- 
25®  SU  omit  nar.  — A ara^rfftsag, 
B arfeaift^ra,  PW  °ftggr3,  NU 

o o 

"cmTara,  0 "aurftgas,  T "arfft-  — 
BPO  Mrftr",  SU  iftT",  T omits.  — 
APW  "irarft,  BNR  "aft.  SU  "aft. 
25'«BPSU  omit  w».  — STU  ftwTft- 
arat  >jna  at". 

25"'  A adiaauui,  U "araiudi"-  — A 
aa  ftaaa",  BR  amrl",  0 aarna*, 
STU  aa  ar*a‘«3  iratift. 

25'®  A ara^.  — P ararlra  arafti,  0 
argaftat  once  only,  R ar*  once  only, 
SU  omit;  T at  rd  ft  at 


27J 


uwH  5iafH9rrnTTH 


[i.  28 


ft^Tl  »i  I 

^ IJS  fwaRT^  f*lKft)ar  H 

ainntaii  '^ttjwnwsrr  ii  ?!,  ii 

3if^  ar‘1 

n<ii»Hiif«r<f?«««n!i  i 

■Ni  w f^  riwnft 

3TTO  ^5Jaj  II  II 

■fesrewt  I 

Ck 


II  II 


26*  N — A «^,  B »ga.  P °^- 
g.  — A B unri-,  R h- 

5T%  STU  grarar”.  — T 

26**  S sTfin®.  — ABPWNORU 

S '■^rfe^*.  — N “TI55W-  — nr 
^<h(«ii  S oi)<!n^(n,  IT  wlrtPrt- 

26'  ABPWNOR  f^\  — ABPWO  »g- 
N “arfro,  R °qfi)gT-  — B a- 
tgKU^fHr^at-  — APWNORSU 
•fjai. 

26<‘ABPWRSTU  siitijT^,  NO  wfe. 
— ABNORTU  “sw^,  P °3wfej“, 

27*  N — A fsraftrsnr- 

27**  A uiTt^,  PWOSTU  BffW^,  N lit- 


27' APWOR  f"<rtT3ffe t B frtigTaife)  N 
— 0 g. 

27**  ANORSTU  ^gjirtir^,  B 

p w — AWNR 

B omits;  P ^fsz,  0 
S ftifea , T U fyfdH.  — 

B Tjfs^.  ST  «»fsag,  TJ 
28*  P fTOT  instead  of  — B ighjlT- 

N 5^1TirW^,  S o!T^». 

— ST  ’MW*,  u “W^o.  — STU 

o o 

‘’iHa^Tan^.  — NR  rTTiren-.  — ABW 
NOESTU  P 

28*’  APWOR  B N 

o vd  o 

«d^H“ , su  — A 

B =ytn*Htuui>  P W »7nfr- 

O O s; 

wtdUJ,  N o^^air^,  OS  “w^erm, 
R ’^nnarw^,  TU  °HUWdUj.  — AW 

C\ 

ofjTjrf^,  BR  ST  U 


B , N g- 

Ur«JUI««%  s waww#“- 


— STU  f^. 


r ^ 

<*uw»3iyra 


[28 


i.  28] 


^rrfxrarr  i ?ra?»(a^rriew  I 

• ^msflaTf^*  I inn  fti  f- 

I -srpra  atnsfv^  ft  >M  i 

T?ft  ft  WdjRTT*  I W I ftfa=fa'  I WI  fti  ft  5- 

^ ft  ft|t  »i  *1^'  I ^ ^ I 


31  irar  t»«»<S!'iu,<S!  tiBtii  rri«MI  qiS «M  -<4^  I 

n3 


28'  A rartfi  f^fnifh. 

28'  APWSTU  TiTT.  — B -tto.  — B 
jT^ni.  — A irorfrETTW,  B 
TTRtw,  0 — B — 

PNORS  "HWdltmi  — APNR  5H- 
■ftnararfe)  B Srfeswfe,  0 Fd, 

SU  fafayat^,  T 

283—1  rp  omits.  — B p?n  U,  R omits  ftr. 
— A irgirraw,  B phto.  — 
0 S “tfe  f^,  U tfe  — 
AS  Hi#fw,  P srgd^ife,  W Hyluftj, 
N fif^arfe.  — SU  °piR?mlfw, 
U adds  ^tW,ANOR  add  fear  after 
STSt’.  — B 0 amar®  NR 

o 

omit.  — AB  grfem,  PSU  w^rferr, 
AVNOR  5Tciif%sTT.  — AV  — A 
5nft  SU  §a^  jftd.  — A ^n- 
ttllyaiFci.  PAV  JTfpTrgrfe.  NR  fRrrfsT* 

o <o 

fs,  o wFmyrfFd,  SU  -g^.  — A 

iRTf  ^ fa. 

28®  N at  — A omits  3PT.  — B 

ofr“  JTR  pa  nFimifi. 


28'  A fa^FB  hiFbcM,  AV  omits. 

28®  AON  f^,  B a,  AVT  omit.  — B p- 
W.  — PAVNR  , OSU  ^■ 

sa».  — A '«fafis(iw,  SU  'Fferw, 
T ^rfi-aror.  — N omits  fe.  — A 
fdifipri , P fegr.  — AB  omit  w. 
— SU  T wpf^. 

28®  U omits.  — A B grrfa,  P go- 
i eR^iwfei,  NO  ^fogra,  R aro, 
T fTO. 

28*®  A fa?r  afn,  B ^waaiiu-  — BO  add 

c\ 

vaiP. 

29*STU  — A fiTHT,  NR 

fTTFTT.  — S cK^°. 

29*’  A fwPTfigfe^",  B fwmarfi^*,  P fw- 
nrf^f^”,  AV"  fwTrf%^%  NR  ftim- 
0 fwTTar5%3’,  S fwmrfgsTs 
T f»anafgH%  — ABPAVSTU 
3S7%  N ‘PjaRi'.  — B AV^ 

‘wfrw*,  NRS  -wi,  T ‘JTST^ftifp- 


29] 


irow  5Tarfsn>TnTT?T 


[i.  31 

W f ftaJt  ^3Tt  fif  w II  ?(>  II 

?i?ra‘  I 3lft  « ’iTOtfT’ I 

Hisj  GHO^-^feaT  ■fewrotai 
T5t  ^Tff3  iminwaf  an3  ^ i 
Hwratf^^^inTsl^wTO 
m ftrfef^  3rr3  ^ ’n  « 9<> " 

I TC|TOVr3f^^W  «KlTf<3»5RT!n  ft  TFftt- 

■ssn'i  am  -sn’i 

wsT  ft  ftroaiftT  imj  ajH^u^w  i 

n3  C\ 


29^  STU  m . — NSTU  -r^.  — ST 
— ABPWOR  \rafk^,  N vsraff^. 
— w airgifa,  RTU  aifm^iH,  S 
gfhnn^.  — STU  — ABPWORT 

ii^  I ^ ^1  i 31 1 

29‘‘  A B NSTU 

— ABPWNOR  — Mss. 

3ll^*  — A f^. 

29^  AU  omit.  — BR  fT^,  PW 

fddn*;  fTOci  trar,  N 0 fg^- 

u c.  o 

rT^Ba.  S fTB  ST.  T fT%3a. 

29^  A omits.  — T omits  ST^-  — B 
0 T ^rrtr-  — WNOR 
SST'*-  — TU  add 

30*  AO  JT^,  B 33^.  — A «gf^ . B 


R S arr?,  ABP 

^VNR  anf^. 

30'=  N ‘gviTi,  U °3SH.  — BR 

— T — ABW  •fatrarm*, 


jr  •TTararm*, 


'^sTinTifra*. 

30*^  X ireaj.  — ABPOS  mr,  W irfis- 
— AORSTU  B °fa%g, 

PN  W fgfigj.  — ABPW 

NOR  srrfe. 


30*  BPNOR  omit  — P ara,  STU 
arg.  — P ?mTiin%  T c^st’.  — P 
«viTd%  N OSTU  «VT3T%  B, 

— ANRSTU  omit  fg.  — 
SU  waadiftar,  T HwtOTftsT".  — 


'arro-  — A figure  — AW  B “feiTOrrr,  B “fewwT,  NOR  «'fe- 

BNRU  — A fir^,  B fn^,  ^rrirr. 

0 71331.  S TR^,  TU  inri.  1 30*  BPWNORSTU  srs.  — SU  a. 

30'*  A argrfig,  T argfg.  — U armr’-  — ! 31*  B ^*idfd^rf<<»dTinirfT-  — A ^arir 
AT  af^.  BNU  a^,  PWO  af^.  i wm.  PO  an  ^c'^T,  NR  ^ (R 


i.  31]  [30 

■N  TIlfHW  Ftfl  «nwft^  II  ?'!  II 

N<!i  ^i^Ri 

TOT 

^ TT  TOTTOT  II  9^  II 

fdiq* : I faifq 

rran  i I fro^arw  i 


^3TW^.  — A omits  fg;  N m, 
STQ  — PRSTU  fg^«,  W fe- 

31^  B — STU  TU  instead  of 

fe.  — Mss.  'MlnfcS-  — N »TOWfis> 

Qk 

0 UQTUH. 

« o 

31^  B qtrrq  rincirl , P «jsuj  3ra> 

w 5BTTq  TO  3ra,  N TOP  3TT<S  pea, 
O TOTP  TO  3ra,  STU  pqa  P^  p- 
31P  arra. 

31*  B ph:,  STU  omit. 

32*  N 5n«hff-  — A “iaspi'- 

32*’ BW  pHto,  P afro,  0 axpfro,  N 
afro,  R Pifro-  — N atafta',  R8U 
ai%T^».  — AU  'TKlTTMr,  NT  'TipTO. 
— AWO  — APWNR  •■^- 

pt».  — NST  «Tmr,  0 -mm. 

32*  AW  afro' , B arf^' , PN  jrfggra-, 
0 R y rT3^id° , Si)  ohlVH9T°f 

— T TO9T'.  — B '^PPT'-,  PN  "U- 

o 

ORT  — NT 


32**  A P OTi,  T oTnff-  — A 

— Mss.  “ur^ftniTi.  — A favit?. 
B ?a>ifa,  W fafafn,  NRSU  fat- 
•gfa,  0 fasgjfa,  T fti^.  — B 
JTOiprt. 

32^A  froT  pa  fa«FJ,  B pa  fanw,  P 
TOT  to:  pa  farspa,  W pa 
faCW,  N »7P  pt  froar,  T omits. 
32*  A gn^ftr  toto  asfa  htt  ans?ia<ii, 
B gnniT  wnjr^aHal^ifeltruii,  P 

5TRl|'fe  nia  TraTTT  TO  Hdfd 

V?  *o  o O 

TOT,  W 5gla  tgraraip  far 

is  cancelled)  a gfgSOT 
N 5TTPr  <«Taid  aa  fjlfswpi,  0 p- 
ca  31  MU  TTaTP  Uril^Td  S aS^rnir, 
R 5TT&  t«raid  TO  ahKhror,  SU 

o 

5TTPT  TOsraTPPi  TO  TOt  afiTO  anil- 

o o 

TOPI,  T gnpi  TOSieaipTPTPi  afiafa 
TO  arslropr. 

i 

: 32®AN  omit. 

32«ABPNSTU  ai%fa,  0 warfa.  — A 
a and  adds  aiP,  BO  add  apj* 


31] 


UljW 


[i.  34 


^ nu<Mn*u*i*iiic4r«*3T  ^rrftniftT!! 

rt^r«r<HT?  ^■=('*<rJ’«s[i  I 
^ WTO  arwsronsn  wr  fw 

»TO  WTO  ■ftsrwfWr  3T»5^  II  ??  II 

aifwai'i  T?WT^‘i 

wfT  t»rofwtWTt  ww  wr  7TT 

WfT  fwflTSTiTfWWT  Wl  WTlf?  WT  W I 

s3  * V® 

rTfT  T!T^Tf|JTr  ^ ^ ft 

rTfT  3IT  ^ 5%HT  II  » 

^ I ITRT  iRT  I 

sO 

• I cTT  “ I ^ ;gw^  wwfwftaiT  ■ftow^  WiT  ww  fw’ I 

aa?  I giTOWi  ?*TR‘ I 


33*  N oinnTJ^irra”-  — ABPWNORSU ' 34*’ BW  i^W)  R fafuiT”,  STU  w ti- 
'fsR3,  T •’faw.  I JIT'.  — ABPRSU  m 5^,  N ju 

33^  P W ttaiuHl,  SU  iR®m- 1 ^ NRSU 

f»?,  T trsrn^ii^-  — APWO  omit  34' B mufiusf^Hf  sr«  dr,  T srg  sr  nr. 
am;  BN  gnr-  — APWO  fromn'-  — 


— AB  ^rfe,  PWNOR  wrfe,  SU 


34*^  B fni.  — A df^ftiiqil,  N ^ylrUul. 


34^  A 9ifuW(4MiTs  %Tawr  qrfgqrm, 


33'*ANR  95TT5°,  BW  awr?cr*,  T cr- 
fn°,  U a^r^».  — O ’fproat,  T 

o 


33'  B — N %ra3ia*,  T nraw.  — 
Mss.  -n^.  — N njrfd.  — T 


O 


STU  «^aw.  — T nfaR.  — S grr- 
nnp,  T gnanrrw,  U grnF.  — T 
n§. 


34®  BNR  wo  3T , 0 are  err  instead  of 


33'  W wo  H,  B omits  w. 
33®  N omits. 


fad«*:.  — A frmre,  W am  m 

C\ 

trfn,  S fe«  #2T  fri  fffn,  T feo  ^ 

o o 

9 are  5!®r  uPraw  fri  nfH,  U fe» 
>|ld  '5  fTT  rrfH. 

o 


34*  N OTTfTTWnP.  — AB  — BW 
srfe,  0 SU  wre.  — BPWOR 

•W3T,  N T srerearr. 


[33 


i.  34] 


r<a(5««»>»iir««h 


sttsuh:* 


* I ^TtR^ar^’i 

=nf™i  I ajfw  irw  -st^- 

?XT3Jt^Tra»r’i 

^ I wiia»t® 


=nftOT  I iTOJ  xjfilllft  gftlUT^  wm"  1 


sal  1 ?3TOa“  I ^n  $ iTr^f^^n"  i 

STlfv^TT  I I ^ ait?  f?iftB?T  f?  ^rftt“  I 

^ I 5a»irfH**  I TJT  f wfttut?inajwftf  aiPtTO  tf^  ^5|^- 


NE,  rrarr,  0 fg^’.  — ABAVOKS 
arsfti?,  P U 

34®  T omits  fegc».  — A ?iH?I  JmtrrfbJT- 

Cv  ' 

Miawtig,  B 53  w 3:°,  W m gfen 

^rai€<a  vi  ^ 3%  U — NR 

add  S5W- 


34®  A rfcT: 


c. 


B STTTraiT,  P 


fa^uaKT  Hifutfcmi,  T aalf<a3^  — 

«\  c* 

B *9^,  P g^ERTR,  S «aiD[.  — BP 


RT<J«f^.  — w adds  3TO3TT  dufarJI^. 
34^  AP  fw%  SU  irar  instead  of  fe|°. 
— B #rni.  — APWNR 

O 

BO  S T 

u 9fifi?T3td-  — w adds  gfT  rW  f^. 

O 

34*  B 37f?n  — AP  omit  5“  3°;  B 

W »g%,  N gf^trnrrTOTTTflT, 

OR  5R|^  mrw  uwt  instead  of  z- 


fe?!'';  SU  omit  3°;  T “q%.  — 


34®  A H?rt  TTift,  P TTiff,  T omits.  — 
A 4<3J|H  fTartlird- 

34^®AWO  WT3%  B WT3#3,  p OT3Ha3, 
N JTTjftraff,  R wrsrftrwt,  T w m- 
— A B PWNOR 
STU  omit. 

34”  BW  N Trfw^-  — A h3- 

fbcmr,  N qfacrgt  5TTW 

34”  AP  B omits;  N mff.  — P 
omits  ra’. 

:)4‘®W  fe  T ftj.  — A WJT  gfam 
BWOS  m3%  P WT3^,  NR 
WT^fwatT,  T PTJB^aTT,  U m^ftrfWwr. 

34”  A fegFiTg,  T omits. 

34'®  STtr  omit  3Tg.  — B W 

'cFgfro,  O Tjrfi?”,  NR  SU 
f3“,  T chHchdfd-  — A ferr,  BP 
WOR  gi?3T,  N omits,  T gi^3Tf33T. 


ANSU  B P “3153,  t)  cT- , 
fs  SKddMi,  T saa^ffTT-  — N omits 

\J 

erJrnrrraft- 


— A NRSTU  arfei,  0 gfira. 

SJ  O 0 O 

— A wtarfw,  N gaipfa,  SU  3- 

ioaifw,  T omits. 


33] 


VIltlM 


[i.  34 


I TIT  f ^PfiTTTT  %^f^3TRfijific^T3TT  ftnxn^rf^**  I 

irafniH  '*  I TIT  Wri  I 

•iifu*i  3ry>wT?iT  fktsfi?** 

^ I irff  ■^ffftiT^  h''  I ?fW  ofmsw**  I 

•jrfrjcjrr  I ^TWtI  ^ XT^  wr^“  I 

^ I 3rar  TTTJ  ik^TTin^  51^  WRXTT  3Tgi  ^if^TTIT^  3T- 

<«< refill wu  I m ^ f^- 

xrarr  ■g’Rif^TTi^Tii  -qr^  tit?]^^''  i 


;{4^^  BW  fg,  P jg,  O T omits.  — 
B fOT%  T 'onn.  — A »m.»rhg“, 
B °iicBW>,  P 'irewaxg" , W "ireHrOfT- 

o o 

TTff.  — B omits  “wfw  ai^- 

nff.  — A Tfe^T,  STU  — 

A cn^,  P WNOR  «5T% 

SU  ;jtT5T-  — nr  add  wtfe. 

34‘®W  nfr.  — P ^ W gr,  O 
STU  %.  — A feat",  PO  fg^*, 

O CV 

w NR 

(R  *e°)fWaT^fiuibMQTfH47HltU-  — B 
P fa§ifai<Hroi,  0 a^aT“, 
R g|f3ar%  SU  g|ftw°,  T g|rTaff% 
— AO  — PAV  ftuuu- 

5^^,  SU  3TU55T^,  T fuiUlT3»^. 
34^  BO  omit  #;  P g,  T Iff  U iff 
tg.  — B ?ra,  P H,  NR  mi.  — A 

sp  o o sj 

Srstw^  fra^ni)  NR  %TVT°> 

T aniraig. 

34“  AP  fdHUHi!4l,  WSU  omit  iciT.  — 
B ^ 5.  — APO  gfefiu,  B gf^- 
fiffm,  S wIiTfiff,  T U wimiT. 

— N R °im,  S “iHw 

o 

omits  w;  TU  “ir- 


34“  AP  ^fOrOTa.  — W ufTw^d,  U a- 
ffWalfH- 

34“  A omits.  — BX  arnit.  P aici,  W 
ar*®,  O aiT^.  R arsir,  S ai^,  TU 
omit.  — AV  uH  g?Tii“.  — B S 

O 

PB-  — BP  R qzjm,  S q^m, 
*1  mcmI*  P u^*7|. 

VJ  Vj 

34“  A omits  ^-lifa^riffaT.  — P 

U omits.  — T anup  instead  of 
aT5^  wp.  — O j|^“  JUT,  S w wt’, 
B wamicii,  X "uraniFTPiff,  R m- 
<JUI51dP!-  — o rRSI,  S fT@l,  U fl- 

O VJ  o 

— B TI9TP,  s Uiniduu  T ITBT- 
3lff  U omits.  — PAA’’  aT35a-  — 
P fe^Tiii,  STU  °^Tiff  — A ar^^, 
O ann^.  — AP  B ^- 

inarrp,  XR  gwriiaiil,  SU  w?%aiT, 
T wfinTp. 

34“  BXR  omit  ?tt;  O ht  p^.  — S f^- 
g3-  — B gfg,  0 Tra-  — 
trera^,  S tiwgr?,  TU  “srgT^ 
feiP^T.  B fjg^T,  AA^O  NR 

SU  feargr?,  T 

34“  B yjtmirddf^ . P ^ 

pmu*,  SU  ^Tiiiiff.  — P 3ifft,  X ^- 


ABPAVO 
AP 


ch§<W»aWt« 


[34 


L 34] 


amro;  I I 

fo^pnc!  I ii«ii»i«fjcvu**  I Ht  arff  m ^ ^T%j  5»i  afif  I 

ftrf^  ^ I 51^  3?n^  -N  ^- 
fijafjnft”  I Wcinsn^  ^ ^<pi!j  w^tajajtt  arfti^  Jif- 
3fT”  I w ■H^  ^ '^“  I 

aaf  I ftsjarazTf^aT  §w«M<Li  »rfi!!air 

?ra55n  ^iT^“  I 


nft  fi?,  R omits.  — A grawvi.  B 

N su  T Iir^:- 

34*®  A w*  ^rsfs  sn  snir  Uajiufa,  P wm, 
WT  Mttrfe.  S innr?.  — TU  t'w*- 
34“  B omits  fes”'  — A -stwf^wng- 
3430  WTU  omit  >T^,  NR  »ff  crsTO,  T a- 
•TO-  — A snu.  S — P 

W UT  ^f?I.  — A ^ corrected 
to  B P g.  — A gi%.  N 
S T arfewr  naJT, 

TJ  wrfe  I n I-  — S omits  ^ 

— BW  ?ni,  0 rT3T-  — OTU  5T.  — 
NR  5r?i  instead  of  ^ »rg  g. 

34®’ AW  9^9,  B p 9TS,  N *- 

U O \J  o 

S’*'  T TJ  — STIT 

34®®  B n^,  W omits.  — AWNORSU 
P «m1g,  T — AWO 
^ fe,  B ?tt  ftr,  P ^ 9,  T 39  39, 

VJ*  v> 

U omits  fij.  — A 9fiEt»l,  B 9Hjfhn, 
P 9figt!i?9,  O 9ftr?iflaft,  su 
T 9f^ui?aft. 

34**  A omits  9?ir;  P 93:  N 9319, 

TU  HTO.  — A 95fhT”,  B w^rrarT. 


— ABPWSU  »rf»9^.  — A 91TT- 
wf<9dt.  BPW  w^fi9^,  N tufitldT, 
O wfadt,  R wfuidl,  S wt;»fa<n, 
TU  omit.  — T omits  9. 

34®^  T 99T.  — A omits  fe;  W f^- 
miTT,  U fii.  — A 9f%99*,  BWNOR 
STU  "99*,  P *H5r.  — Mss. 

NR  add  9*  — A R V39lf, 

T W-  — B omits  3^5rT°-ira; 
W transposes  3^  ^19  319W<  — 
A instead  of  3^.  — A 

599,  P W9,  NR  ircg,  0 5991,  STU 
991.  — w adds  9^fe. 

34®*  A fwfe^gtmwni,  P ftw-  — A 
B °9f?f9rsT9,  P *fipri?9,  W 
•9%f9ra,  N •ftinffsT,  O -qfgftuwT^, 
S •’•feftiT,  T 'Wiffiii,  U -w^rfiiT.  — 
B 9999ITT9,  P Wwf^Katli,  0 99- 

o o o 

999TT9.  — B Mfina,  P JTftirm, 
W wai^q-  — N 9t9nn3-  — A 
ftre93fe3T,  B ”?fw9T,  POR  f%- 
wrfgMT,  N fifwsfidi , su  i%sm* 
f^9T,  T omits.  — A qo9n,  P 9- 
0591,  WNR  99391,  s p9,  T 9- 
ST39T.  A.SXJ  ^^9^9T,  B ^R3^9T. 


36] 


[i.  36 

fei<dtduii  I w ^ auTO^’*  I 

otJ  1 irart  Bfii”  I auisraw  ^ an?  ^%fti!aiR  ir^- 

T«rR  ain^  nfwi"  i 

nai  I ^»jir<  -<)w)aT^^uj  <fcf^foii^ujlr^  aiRr5^yTjt:<ii"  I 

HTnn** 

I ffiai  K5T  I 

T?aT 

n9 

^ anxaTai  ^ ftr  mr  i 

anam 'Ni  ^ saj  fii  wit 

5Wg%iIWtaJW  1 wfw#  II  3M  II 


343#  bsTU  omit.  — A 0 MT*  3°. 
— A adds  fw  WWTwiw  ^ fTOTT- 
HT  , P adds  iffa  fw:ntTfn 

MTWTW3W  HU.  "W  adds  H »<iifa,  O 
adds  ?T  cWirrftT- 

o 

34®^  AP  Tra?,  BWSTU  omit.  — A n- 
131HW1W 

34*®  A ht  sregr.  — B uferanr,  NR 
O ufeuilvi^H.  — U omits 
H.  — ABP  wmu,  W omits 
STU  omit  ^ wru  — AP  afwfe, 
W gfijuffii , 0 srfu^hw,  S Huftr- 
»nw,  T mrftrrwn?,  U srfufinHw.  — 
B WdrarHiT^,  N — NT  ‘H- 

fe%  0 omita  — A wnut 

nfaPw- 

34®®  B wigu,  O aggru  STTJ  aggru- 
— B Htr?',  OT  TO3T° , U I 

N WUHTTTH,  ST  “W3TO-  — A gi®-  I 


ftwr,  w •«>iquHfu>  NU 
T 4,r«(l4imfu-  — PNR  Tlftj- 
Twr- 

34*1  ^ p — A PH- 

H^,  B •pggn,  p only  pi^r,  WS 
HUH SI  I » 0 HUT  H5Ti  ^ HH^I-  — 
OSTU  utu.  — 0 adds 

35‘  Mss.  HBf.  — BNORT  •gfJw*.  — A 

35**  ABPWNORT  qfiTinfd-  — S «fu 
TU  fij.  — ABPWNOR  Hufu  *rj, 
T Hnfu.  — 0 ir^. 

35'  Mss.  5TT3T.  — A HH-  — ST  fe.  — 
B 'feru,  NR  oferuT.  — B Hrgrnn, 
W Hturn,  nr  Htcm,  O tittaui,  T 
H^UQT.  — B wrru.  — ABP'WNOR 
ni. 

35<‘BWNOR  %^».  — BNR 

— NSTTJ  — B ?w  HI" 

NTJ  H?HtT*. 

3* 


[36 


i.  36] 


♦ I 

T?Wt  HWf<.Tilfa  I 

|HiKt  r<^<rJ«i^»1|Tt  >5*'giS<UMli  H « 

rrar  | 3fl»|  'iPHtHTMt'  I 

f^6ttii*ni  t ira*  I 
sraf^airRniT*  i 


SO*  A fg’  gmUrai:,  P omits  fg»;  W 
f^’  UsItt-  — B ;jT5n^  I N ;3- 

i^rfeaffk,  B,  3T^ng!srfH,  TU  3tw 
fZ'.  — O — B farlftfriT- 

W «fa^%  N 

36'' SU  — BW  3^-,  ORSU 


33%  N T3TOW3T”,  T 23*,  — P “H- 
5T-  — A n®fTgrf7T»  B 
N T U UtT*. 

— A 3nf^* 


36"  A , 


— S«g5TO“. — BO  a^«n<jt,  W u^y<ii, 


N U^^TT^,  B Ud(Ui<i)>  SU  g^MTSjt, 
T — STU  TO^. 


36*^8  j*Td,  T ^jgnrt,  ir  «*u1.  — B 
trg<i«.  P JTSTO,  NB  rii^,  O w- 

SJ  o <o 

fSTW,  STU  WnilH.  — Mss.  fe^f- 
— A wurt,  SU  wi5?rt,  T w- 


R 


36*  0 m MT%.  — B 553ri,  0 #.  — TU 
gftwTTft. 


36®  ABOS  ^ uftaw  6»*. 

36=  N ^ ff-.  — PWSTU  qgfH*T?R. 


fw:  gfd^H  nar  nfircrt! 

ufrf^ul  I 

rrar  i ®f7Tfe?^i3Tf^  iirtii  frrw^FMni*  I rTf^  f 

^ jTwf^  fir^rai  f^  H?en  fijrar^T^T^ 

wt  fflfif^  I 

wm  rfta^  ctw^  to  i^w^w 

vD  vD 

nfewt  1 OTifw'  I ^ aT55t  ^ fiRfisn^^nwgart  kt- 

art  a^  a)«M<.Mcfl^’  i wt  ftrfejjaurfiR  « h- 


0'  C ^ II  aa;.  — BWKSU  mhiri. 

0*  BO  omit  xrff!“.  — PWOST  ufr 
wfir.  — C qfiffiga,  NU  omit. 

(H  NOB.  once  only.  — BCS  omit 
5^;  T U 5ca. 

0^  BN  omit  rrat-  — N grrf^g?^i3T^. 
— BW  3r^.  — B Hmwftvjm  i ht 
Wrdi,  TJ  HiMHvnnci. 

o 

0®  B irfs  OB  a fTfer  tra,  N cRa 

S.9  O O 

1*0  wiiinirfis,  W lift  snrrrfg.  — B 
^?TT,  C rrarrt.  — BSU  fe,  T 
omits.  — BCPWNOB  — 

P ^mr,  STJ  T 3^. 

1*B  a^yf-tlrHdHHiiiwfdt,  CT^jhdSwT', 
W qtjfwH”-  — CPWOB  «W3T.  — 
B fHft®,  C fdftf«,  P ftrtrwt,  W 


rdfidJl,  NOB  faffig,  SU  f?rrfej. 
T ftnrfaa.  — B CPNOB  fg- 
BTl,  w fe^. 

1*  B uiuida'a^ili,  W 'WTO,  N — 
C 5i>M?jrarr,  N dviduiufa"- 

!<*  BCPWNOB  5iT^.  — BN  C 
ff!?,  w ctN.  — B ffdiiWdtvjjfa- 
?T,  N B g^fewT,  T 

f<nnfd\gi.  — BCPWNOBT  °g[^. 
— B fnw,  C 5TO,  B fiH,  STU 
— BCPWOB  N g^- 

tT^,  STJ  T u^r<4.  — B ng?, 

CPW  jrfe,  N gii,  OB  T w^. 

TN  omits;  S «r,  TJ  3HfWHH. 

1*  BO  gro,  STU  SK^.  — B CP  gg, 
W N aeg,  OSU  B 


[38 


u.  1] 


"T5  311^*  I I ^ JlfKRTt  tjltftnnSTSnim 

f§Hta!R‘l 

^ ^ ^iNli  ^U43IM!j  t 

^Nn^HT  ^ tfsnrm 

Trawnr  ^rett  ii  <? « 

nSTT  I nd*itw4J<i  I 


w^hre^H?3iT  IT?  gijt 

IT  3n3TT  as?  5Tw?<u  fjfipft  Titt  5%ait « 9 « 


T 3THt  fefH-  — B HlfsWTdH,  < 

\9 

B 1wn^#a3,  W ftrfi 
HT^g^a,  N figrfenfNraar,  OR  hi 
fk^sd,  S ftrfTfTra”,  TU  ofnfk' 
— N m-  — bn  COR  fersT,  ] 
%g,  W S T fear,  U 5ai 
1*  B HT  f3  0 “gj^uTOl-  - 


B 


C P fe- 


fr2P^° , N ftrr?%  SU 
T ftT;fs^ftT.  — NT  omit  $.  — B 
STU  fnnJT-  — B reads  fig^- 
arra'S^  and  omits  all  that  follows 
as  far  as  ?n  njurmf  iv.  19®®;  C 

P f%ira^v3,  WSTU  m- 
iTO,  N HHidWiSg,  OR 
1®CWN0RS  — 

CPORU  3TT3T%  N a1<&ST°,  T 5ITIIT3T‘’- 
— C PWNSU  «wT5TTfw. 

2*  W UT^-.  — P — T »sR3w^a?ft. 
2“  C fsfd,  NS  ZHJ.  — CP  3^fg.  — S 


wf^».  - SU  arfrw^i  T stmd.  — 
N ®famr!T. 

2' C ftjnfini , PRS  »tht.  — CW  ^?r- 
farra,  NOR  fsranaT- 

2‘*C  CTaUrTT,  p TTsdarTT.  — CP 
wo  R ''g^,  U — N 
awTTT*  — C N fararfH. 

2' CP  omit  ?i5n.  — COR  HTraraa,  P 
HdHcjr*”,  N ?TdareB“.  — W uiren- 
an^vJIO  HT°i  S omits  gT". 

3*C  sranifto,  N sTfaniiT*-  — PTU  a- 
— PNU  arai^'’. 

3**  CWOR  a^Hilaw”,  SU  •fawwarn*. 
— C -Tuan.  — S — C 

•aTHf^ui,  P 'tnfavam,  W 
N«TTTfT%3a,  OR«Tnafa?3a,  SU  “farw. 

3'  PS  NU  T ^fm*.  — PSTU 
nd,  N gait.  — P *^3i7a<ul»  N fg- 

3“*  CPWNORT  grrar.  — P gar»  N ?rR. 


39] 


[ii  6 

I ^WI°M<!!V^  ^Igf^  f <-'g-^‘ 

<^lcr5 r**i 

^ |<U  ^ 5?^  rli^^n  »TT^  II  ^ II 
afrf^  3T‘i 

if  rftar  fiT^^^r5^«Mrrt^T3Tf^ 

H 1W5r<?5'^^<ii!i^'m  II  M II 
^wniifwa  'I  arf^aj’i 


— CWNORU  nw%?rr.  — STU 
>W!m-  — OWN  FOR  a- 

SJ  O 

S'^C  eiyulricKauiidl,  W °cKai}i<i> 

S ^ cR». 

o 

4*C  93^,  P W ^^f<s,  N fe- 

O fy^^fd,  R ^?rfe-  — 
CNOR  «g^,  P , W 
SU  T — CNU  n^^rw. 

4'*P  F55T^,  NSTU  HS^TO.  — CPW 
NOR  — CWNO  fy- 
P fa^aife,  R T 

fyquT^.  — CNORTU  °w%h. 

4^  CP W NO  R y^r^a  CPWNOR 

ira^,  SU  133%  T fyy^^. 

4<*CR  5TTO,  S U gnwH.  — SU 

omit  i!i.  — CWOS  a?rfe,  P 

\9^  \9 


N R st«rfe,  T u fk- 
g?.  — OR  — W cTT^. 

4'  CW  omit.  — SU  arfk  ar  i^tiifimnltj, 
T uuiriutu^- 

5‘W  ffNr.  SU  T HST.  — T »fk- 
wrarfewT,  U -fkaffar*. 

5*’0  “yaiw^uyws  — STU  °gr^ftng^i- 

5' The  line  in  P twice.  — C P 
5T3  ftnd  ^ji  I W N ^.  — 
C ftrnifk^n,  PWNOR  »^.  — P 
Wt  and  ^y<rf|.  — N y,  S ar  in- 
stead of  fe. 

5<*C  3^.  — W o^fT^. 

5‘-  ® U omits.  — C kwf  I arfe  3,  P 
srfii  g I WN  kw“.  — PO 

RST  omit  f3.  — OR  omit  arfe  ST* 


ii  6] 


sR5tw>5rafH 


[40 


aflWw  WWTO 

3T  i ws,  ri«r^ir<r«Mu« 

nO 

I ’5[3T^’  I 

ufero  fd^^yd^  fy^giur  ^ yAarurt:* 

ftwd®'  I I 

to*:  I iHTf  xrfwv^srrftr  ^ ^ i 

I 3rT55f  7TT  IJ^  I 3fT^  ^3fP^  «btji  f«|9HT- 

fci(su<«  t I ntt  j • I rq:nci5a»^  ^ -fer  <*Q 


6®  U omits  verse  6.  — C u^lfui.  — N 
fwn».  — C uiainiq- 

6^  ST  Him.  — C aiftrer,  P nfe%  WO 
arfes  NR  aifs^s  S vifd<j^wni“, 
T — N “?rt3T°- 

6*  C awT  ^ z-  — ST  omit  §.  — CPW 
NOR  ^rrfk,  ST  firo'-  — C 
PWNORS  -OT,  T -in. 

O ^ ^ 

6^  CPWN  •Wdf?<d%  OR  — 

NOR  -yjd. 

6^  C omits,  W fa»  fe|TO  afn- 

6’  C omits.  — P fatafd,  WOR  fmar- 
fe,  N qpj  femarfe  fbjaT^3T:wt. 

6^  C fddTT<«;  ufesra  OR  fe-  a», 

STU  hh:  afcraif??.  — PSTU  omit 
Tlfr. 

6*  W sni,  TU  «rfe.  — NO  wsa  wsi, 
STU  omit  — PW  add  affcq- 


wirftlti  wwRTO  (P  (W 

‘fig^T)  aftrsTT  (P  -aT)  hit  fk  (W 

omits  fn). 

65  N — CP  Treanr,  WORSTU 
•«T. 

6®C  ar^  fetra^aar  ht?.  P Tift  — C 
ufdTsufu.  P aff^OTiifa,  W afn- 
<T3llf*T,  N afga^fw , OR  ufHaT3llfa. 
SU  irafTT,  T afnarfir  w^.  — W 
'nirii.  — N ^a,  OR  ftr,  CSTU 
omit.  — C omits  HW;  W Htj- 
6’ PSTU  a-  m.  — w'^ini,  NORSTU 

PCS. 

6®C  HjfrTaiTPft , and  omits  the  rest; 
PWR8  ^pr,  N aja^TOTHt,  0 a- 
TU  ajagpft.  — P are^naart", 
W ar^naan*,  N arsstarr^,  SU  a;- 
(!MTHra%  T »»3HH!*. 

6®  OR  grrfr  — W OR  fg^rtaq. 


41] 


[ii.  6 

■fer  xntrqmfwnSt 

■ferfe^T^rt  'tMT^5%FTR^  ftRT  ^R!|T- 

31in  I uftWTO  “ I 1T3T5  TT^KT3ft“  I 

TT5n  I ^RTO  ^ ft  ft^«MT!!ri»  ft“  I 

>9 

I fc^:A^oHil^  Wl  ^ ^ ^ M3IT^“  I 
WT^  ^ HtT3T!tTW  ^”TT“  I 

TT5TT  I ^rfv^tww  'f^  I 

W:  I Wr  ^ IJM  I ^ Pci^  (gr  ^TT3T^”  I 

Tran  I Jw  H^fiirTn”  | 1*^  ftRT”  I 


6^®P  TO-  — T o™its  P fear-  — 
CSTU  W jTOsnT'-  — C nnrr- 
W)  P UUIlfHUI°)  T feKii w :-  — W 
eg,  T fg.  — N ‘wftnjft,  S vjwfw- 
5TTSTlTTTlft.  — COR  ‘3^3Tt,  P '^3, 
N qfdgrFdaft,  T ‘■feart-  — S omits 
fen-  — C fgsrf^”,  PWNOR  fear- 
frm“,  SU  fagf^3T°,  T — 

C TOTO%  P Tnra°,  N SU 

U^ldTO^S  T TOTTOW3T^-  — c 

sni|TtriT^^iTrrt,  S TU  m- 

Ftg^iTft.  — STU  fag^. 

6'^  C hh  to>  PNOR  To-  — C ofraiT- 
iifi:,  PW  Tift'  3TOfa  ^- 
6^*  0 once  only,  R 5T3T  once  only, 

SU  once  only,  T 5- 
C Tran  I ^ fn  instead  of  this  sen- 
tence. — P omits  Tran-  — U iff 
asTO  — PSU  are,  WN  grf^,  T 


— PN  injT,  s :3TU,  U UTT.  — 

O O 

PWNSTU  omit  fe.  — N irbr^- 
6'*  CORSTU  omit  sra^-  — STU  omit 
n?-  — N 4ii^9iiH|.  — CW  ‘tot- 
6^®  OR  f^ai'-  — CO  TO  PN 
toF?,  W UTOT)  R rifc  TO  JifTO-  — 
C ir  TO-  — W tot-  — ST  nw, 
U tot. 

6^®  C tt^  h drtiTfrt-  — W •wmnre, 
N ‘grarnnTB,  T 

6^’N  omits.  — CSTU  arfir”.  — CW 
•qfadr,  OR  ogfror*,  ST  'nftrar'- 
— R omits  a fe*.  — C 
Here  ends  fol.  2;  fol.  3 is  wanting; 
fol.  4 begins  see  ii.  9*.  — 

W rgu<KaujMi<si- 
6^®  N omits,  STU  omit  Ip  TP. 

6^®  POSU  N *3rap,  T *3IP>.  — 

I N adds  STTWfe,  OR  wrwfe- 


ii.  6] 


q>UWy3<q?H 

Ck 


[42 


I ^ fw“  I 

TTWT  I 

fcra^WT  I T)  <M  ?cfhi  JTct^wra 

rhj  ^ ^ w#r  I iiw  3H3I  -fi^- 

fi^w  ^ arftRi”  I aro 

I (TTC 

aro  •^“ 


Har^  >M  aiftRT’ 


^^^ar  H ^{ar  i 


ii<!H!!Tft*ir<H^«H^f^<OI  at  ft^taraiai^Tn  ^fagar  ii  s ii 

nO 


6^®  P only  Sanskrit.  — N iiaT?°7  OR 
^3^0  5SW,  STU 

NSTU  omit  5^. 
— W adds  f^fj. 

021  p 7T°  sr  ^ gslig,  WOR  W’  ■fe.  N w“ 
ag^,  STU  gr#  W“.  — ST  add  fe. 
— PORSU  ^ar€“,  N ^arf*,  T ^- 
5TT“.  — PW  N »wi?. 

6®^  W “fb^raff”  instead  of  *13^“,  STU 
omit.  — P °H(iU4Hid<il » W °Hnu|- 
^Rirn.  OR  “Dcngmin-  — NO 
R §4-  — O MuiiiTsUiii-  — PNOR 
SU  «3T^»,  W isT^o,  T ^aTT°.  — 
P — STU  omit  3ra  — P 
^H5T1,  or  OHSTt-  — SU  jfjTaft. 
6“  N fTO  fe,  OR  rrm;  PN  add  f^.  — 
PW  ^tfis  — N ars^fni,  ST 
omit.  — P , W fig^nroa- 

MaTOI?,  N “rTORrailfhi,  o ftratHW, 
R firstrTOi,  S fg^TsTiiaaT^wrorpEr, 


trai^wigiinj-  — PWORT  ^gpeftj, 
N gjfrqg,  SU  — W 

“a^Tgig-  — STU  omit  ^cff.  — W 
SoiTg  — POR  omit 
6^*TU  ar-  — ORS  ^srar,  SU  iarieRW- 

o oo 

*ratrs“,  T — PW 

o ou  o 

STU  omit.  — N 3rftirs3rg 
af^tiilaTig,  ST  °w^nilg,  U -gfiggrhf. 
— S qaTfid;l°-  — PW  »g^. 
g26  pwNOR  fi^g,  TU  frg-  — N omits 
fe-iataagi  see  ii.  H'’.  — U omits 
fe.  — 0 »ra3TH^,  SU  “a^.  — OR 
iftft.  — P ina,  W OR  53- 
sa,  STU  omit. 

7*PWR  ^3^“,  0 ^3?rJ°,  T — 

WR  ■>5B?nr,  ST  ogsHWW^,  S adds 
fng, TU Hg.  — PqrFS.  ORai^armr- 
— P W STU 

— Pa  WORSTU  qftra. 

7®  P R,  T gr-  — STU  «HhT“.  — PW 
OR  T ^fwiT. 


43] 


[ii.  9 


ifn  wuiHuyfH ' 


TTan  I OHra  !rreraf?T*  i 

ffti  «tiix*4!!  5t  -^f^aart 

TOTfn  T<ai^ia)nr<«Ln  TO  •%  i 

TOT  W Wf  ^R3T  ^PTOS 

TO?^t  TO  3n%^  f^TOT  'N II  t II 

fsferatafw'i  mt  TOORHl^  <0xi  3TSPTOi’  I 

firasnin  1 ^ TO  f>TTO^t^  aTTOOftrO^it 

nsn  I qiTjtjfd*  I 

TO  %TfftoTiTff  ^nroro 

TO  TTftrro^  ^TfVKr  TOfTw  i 

'Naftc  rftao 

TO  ^ H^3TO  ■jfrt^aiTOT  II  ft  II 

firaswt  I ^7«r  TOTC  SrTTOrre  to  TOWO%ft09TO  W3- 


7'  W ^ gwuqfH- 

7*STU  Tran  ara^ifk. 

8*P  — P "fTO-  — PWOR  g- 

f^. 

8'»SU  »w^,  T 5raw3T.  — W »^rnn?,  R 
— S TO- 

8'  Mss.  Tot  S h WS-  — T HOT-  — PW 
OR  S 3%st.  — PORSTU 

■Tirji  W "fiira-  — S ■’asTT  TU  '■U3T- 
8“  OR  fero.  — PW  — P =w- 

Igrror  but  below  °fmTiTO  T W »H- 

^TTOr,  OR  "fnsraTOi  (R  ’ij),  S 
•fnMTMW.  T -wnTOT  P “wisra- 
8‘  W Tran  %fer  nraror  fddu*:,  O tt- 
grr  %•,  STU  ^ %•  a^gn^T. 


8^  T tot#.  — STU  omit  nr#.  — PW 
OR  wJTiiTTOTaniravgTT#. 

8^POR  ^sft,  W 3fe3,  T 33^at.  — 

O O 

SU  n^  3nr.  — P gran.  — W fn- 
5ra,  SU  ^«>.  — W fdfTidi. 

9*S  tob-  — W Fdnw°-  — T fegTjl- 
nTH%  0 »#it,  S ni. 

9**  OS  °a?TF%,  T 

9'  ORSU  n?aT  ni-  — PW  faro.  — 
C r(k,  WSU  T f?T5.  — C 
^)«stsKl«i,  P fbaarf^,  W afeafar^^T 
0 gfisafaifl^  corrected  to 

R gfsaaT?^,  SU  TOfarr?^,  T armaf^. 
9<‘CPWORTU  "aaro-  — CPWORT 
ailfdaiyi. 


ii.  9]  [44 

«M<urg  »rft3T  ii 

int^rrar  i|H'3|i«rwM«t<!ji 

^ 5*iTi!!W!n  flWtlT  flffwi  I 

arfiTD  ^ iik 

■fiSRt  mfPMT^I  §1 5PT  ^ ftfttT  fwrf?  HWt  II  So  II 
Trarr  I I'WiiiTiftiitff^qil^^i!!  gg  ^^^f^r«USIT  ^ W‘l 

■finaii  fiT^<<<iiw.m<0‘  I in  nn  mfjfafg  in  i 


9^  C fa*  u5Trm,  POR  fa*  fa^.  — 
WOR  — P i^,  OR  535a, 
STU  — CPSTQ  omit 

— C a.H^afid«il«ui,  P 
any,  OR  «ngafa°  > STU  atENnr^i%- 
?nf^  (T  'wswiifp,  U *a1wf^)- 
— C aff^nnftrar,  P artwnrfeaTO, 
^aiiTwafar?  U R"  anTr^asa^y 
S iTiyFwiw^,  T MTd*-NKtt!iT<i.  — OR 
^%T.  — CW  fa^rmt,  STU  a*.  — 
C PWO  g;^,  SU  ataff.  — C 

P a?u^,  W a^.  — STU 
a'a*.  — OR  add  asftf- 

O 

10‘  S iiifaroi.  — C luaTHfmfwJWun, 
w *5igl«f<*juaanii,  0 *awfta*,  SU 
TTWawd*.  — C Ndddn^dldS  P ^- 
araia*,  OR8TU  aaareaa*.  — STU 

VO  NO 

•MR?. 

lO**  PO  — C amaTF^gi>  W anr, 
U 44mfaq*mi. 

o 

10*  W *ara.  — CP  fera°.  — S •am*. 
— WSU  -wtaar.  — W f^  fe. 


10<*C  fava^,  P fafersar,  T affa-  — 
C arg^rsT,  P argargr.  — R fw- 
— STU  a*  — CPWO  a^, 
ST  f^.  — o f^gffa.  — ^ 

O^J<  ^R^arnT* 

10^  C fa«awi'g.  PW  fa:«aai. 

10^  CRT  aare,  PWOSU  a?r?.  — CP 
atfaam,  W a^uaunn,  OR  aw^aann, 
T ch^TiJiartfa;  SU  add  fe.  — OR 
HM’.  — C *aft3n?aT,  W “fafgfinaT, 
S °a^ail,  TU  ^ sriw?.  — COR 
omit  — CP8TU  ar. 

10®  STU  omit  aar.  — COR  afgara”, 
PWSTU  ari?Ma*.  — Mss.  here 
and  in  the  following  line  °ataR^. 

10*  S gra,  T aca  a®si  a^.  — CSTU 
omit  fe;  W — C *af%Tn?m, 
PW  *a^ar?,  STU  *aaar?  aa^nan. 
— CPWR  f^Mar,  0 faprarar- 
ara  adds  fe,  R adds  fa. 

10®  OR  aarfife.  STU  aaia  aa. 
fa*.  — P *fa^. 


— Ta- 


45] 


fgfilti  31  I •ruH 


[ii.  11 

^ fq^T^^Tww  gr^  airwt  ar- 

I XT^’  I TJ^ 

fajTOi;  I 

CA 

Tit  WtrjfT  ^3T!?T 

laaisraitl  fTTtT3iri!!M«Hm  I 

Tirp^  -^nm^  3T  WIT  tfWOT 

v3  ^ N® 

■^fer  '31  ■f^  ^iTl?5'St3TT!n  ?tT  WSraTWl  II  SS  II 

rrai  I TRHB  ?m  fri  Tftins  -<*!,U.«  <11  «TTl^WrTfft^  ftl*  I m 

tTTTK  ^ 1^'  I 3TTI  TIR3T  f^ 

finsrr’i 

I I 


10*CP\V  uiir.  — C gaww,  P ’aww,  1 11*  C n^n  itotts.  — OR  ij  instead  of 

o I 

WR  — CSU  omit  ur^.  aaroj.  — PW  m ?to,  OR  fTaf.  — 

O’  o o 


— C wijiiiHHw  5T^i  P nwm- 
WOR  jramnorQ  (O  °f?iaT)> 
SU  w»  ^f^faar-  — 0 afrarifi.  — 
CORT  P 3^1^,  W 3- 

feai?.  — C ftraaf^.  P 

sT^arfl  araw  ft  fti5cjaf«. 
10’’®  U omits,  C trsn.  — PW  RS 
ITS.  — P ST  POT  *fts- 
11*  ST  ft’  tisft,  U ft^’  Tisft.  — T 
OT.  — W omits  JTI^T- 


1 


ST  ft.  — C jg  fcTOTH,  AV  wranr, 
TU  ?rftTn»  S omits.  — WOR  •?- 
ftir  ig.  — CW  tiTTiftftiraft,  P 
'5rft55fft.  OR  »5fft?prft,  S ‘fftfig- 
OTfr  ft,  T Hwawghft  ft,  U «ft- 
tTT  ft. 

IP  CAV  g;^,  P atTVjft.  0 «ift.  RSTU 
5R%ft.  — C fTWrfT,  0 ffTTTS,  STU 
rPnar.  — CPAA'ORSU  ft;.  — STU 
ft.  — C ftrl.  PW  eft.  T 3^. 


IP  CPW  mi  ^rrft,  ORST  igs’,  U wrs’. 
IP  C iTPmirT.  — OR  grsrft.  — CP  g. 


— CPAVORT  ’5I3T. 

IP  C itst  fdsf&sstpi  HT^raaftftrsTfT^. 
— STU  rtfiujJ  31 


awn- 


IPP  8T33T,  SU  ars,  T 3T.  — CW 
sft^T.  — C ftp  sftp.  — CPR 
o tR$.  — C H?ilp,  SU 

fftn. 

11*  PU  omit.  — C ft^’  ft’TOpnm^  I 
ft’  *>rft  ft;.  — COR  mi-  — 


ii.  11] 


146 


I ^ 

^ I wi  ■fer*  I 

nsj-aduii  I 

V<M^ar^^Wfi-  fitwt  I 

<1311  I 


Tt^nftrar 

fy^dUii  I 


II  II 


jRTram^k^ai  $ ^fi^sn  ^aiWH^  i 

<1311  I 


m f ^ m II  II 

fS'QqKU  I I 

TRfT§3lfi1nSi’!!l<^  Uj§3rf3T5iaj  ftCTWT  WT I 

<1311  I 


sssr^hi  in  ^iM’a<iiinnlfaai«i,<;}»ii  ii  «i8  ii 


OR  add  «%%,  T adds  fn  isit 
fatll?fd- 

11’’  C ftilTlidtUI  rraiRWTS-  — WS  omit 
OR  353,  T 3ar-  — CPWOR 
•4  fa^T  I T ai^5T2rT  oI^qT  ^fW3T» 

P omits  fftftl3T;  S 3^,  U 3rftf3T. 
— C omits  ST- 

11®  C rran  HUTTg.  — CP  iro,  STIT  qrg. 

— P omits  few;  W fdfuygiTt- 
12*  W omits  — P °bnf<^ii° , W 

O «^f<J3»,  R «6Mfd3°,  S 
U4iiiHoeifH9T°>  U °B3f^T3°-  — CSU 
omit  »03i*.  — S T “fij 

ara,  U °fOfii(jfaj.  — CS  f^. 

12'’ C STOfn  ^rOT  TMIg-  — T 353RT- 
ftsj.  — c 3!3,  p 1K3,  OR  UfT,  T 

S>  VJ 

03-  — U 3T-  — C («3luruU3lfM- 

O 


m3ii,  PW  y.3nro«3rr<THUiti,  OR 
'mi3ifrT«niHkti,  U ‘acg-  — Read 

13“  C »qii,  T — WORSTU 

^TWT-  — PT  HftrST-  — CSTU  3- 

STWlfg,  P SwFtH^,  or  33TWrfg- 
13'*  SU  "iraf3i°.  — C vaiHUMifg,  WOR 

'HTHUI. 

14“  C uHf«5xi€Jiir  I outuj°.  — WS 

o © 

— P "sra^-  — C PSTU 

finiren,  OR  fiusf^w- 
14"  CPWOR  gtsT^,  S m xm^,  T 
3!3^ft>,  U TTST^fe.  — W W35raT, 
SU  T «3fk-  — SU  omit 

m — CPWOR  I3TT131ir*-  — OR 
°nHt^P33T°  y N begioB  here  again 
55nfi^3TfniW3<?T.  — u adds  ht- 


I'gfl'nj  agf5T4.T5TTrn 


47J 


[ii  18 


TTiSfT  I 

^i^TBWlWW  Ft  ^trfwt  Ttlj  II  ‘IM  II 

fclVdtui  I 


mn  I 

m TTi’^f^^aT  TT^wliini  II  II 

fd^ddJ  I I 

iftar  FWTfemtfF3inij  ■<tr^itl  i 


rran  i 

7TT  TTrftf^  cTIWfeRt  II  II 

■ftra^^nr  i 

Ffirg  ftiHfttai  Tgnn^WFai  « i 

TTSn  I 


Ft 


Fitf?  F^frort  II  St  II 


15*  C uHfa^gmi.  — P — N ftr- 

sj 

— C *q^.  — N ftiwftjMT. 
— CN  TOT’,  PORSTU  TO',  W 

TOT'. 

15*’ CW  g*  ht,  PWN  ar^,  STTJ  g^- 
Tift  — NRS  irrea,  0 iir^. 

1G*C  uHfTOidmi-  — P fswmt  nnira^- 
uia^lad  fnwT  Trj^'drtw.  — CW  g- 
srroiHft  (W  'fg^),  NOR  'srofsT- 
%ft,  S 'aTOTafl.  T gfgsTO5i?gt,  TJ 
'gHft.  — COR  *TO|',  W 'tT33°. 
16**  C Trftg  gmlT^ug  TJT^  rn  nnraro- 
TTT  II  <»e  II  H MTnr?  • • • , P ar  »rr- 
ftnuranrerT  fe?r  «Hiui1*«ivjTfui,  ST 

o 

P m ITlfc(iiTTTiT'mWT!uftilHl!llT<d^«- 


WT.  — WN  JTTir.  — w fw  g f^, 
N fw  ^ — C N 

fepulsff,  0 fHOTlaf-  — nr  'grnlT, 

0 '^fiiK. 

17*  CWNORST  hI;?,  TJ  5.  — W 

3t,  N 53fesT,  T ^rfewl.  — C g- 
wifau',  W ®HTTOI',  N ®inf^'. 
17'^STU  m t*.  — C W 'tro- 

— C HrfniT'. 

18*  N — C 3)^,  P 3MTO,  W 

O O 

N 3^,  OR  'H,  S W5 
T feregH , U nWT.  — CSTU 

S.9  Sd 

omit  fe.  — N 5K^,  T TO’dn.  — 

V?  O 

C fiugfea  TTUtr^H  ?»fe.  — W •«- 
— T $. 

IS**  w'it.  — WNRC  'TTw?".  — CNORS 


iL  19] 

fsrawT  I 


[48 


Tran  I 

m ^far^  II  II 

fdtacdMJi  I 

^Pj;^l^an«U  nTOT  I 

TMT  I 

in  « ?o » 

fesawT  I 

I 

Tran  I 

<^rw,i^nwj?a  m TftwnTinsaiTjrnj  ii  its  n 

fe^ranm  i 

T3T  wTcig  wfiair  i 


TU  eftfig.  — N Igar,  STU  omit 
fg.  _ CWNORT  — CW 

N «fin«r.  T ri*Hl3d- 


iffr?  N atiiUiaifnidixitji^mifH,  OR 
’SlfiirS’,  SU  ^ T*3llil ajftsm u flTtUHn- 

isr?.  — C gnoR  ?ff^,  P girai4  kHi. 
N aTW^  fftjf-  — STU  omit  g;*. 
19'*  NOR  omit  ?n-  — 0 jfvoq,  P 3- 
wfH,  wo  3TiroT,  N aiqftgw,  R 


juiiB,  STU  ^oi?.  — C ura^sra- 
fa^lwieW^.  P W 

4H(WidM<jfHfHWd>  nor  *P%,  U 1H- 

o o 


20  U omite. 


— WOR  ’fmm*, 
N ’Tiv5T3niT’.  — W 

20'’ C fir  — O ST  — CO 
Wjatl3,  P cnaT^.  N omits ; S 
T — NOR  gsHUiTfitiit. 

2P  N omits  f^*.  — CORTU  "iiiaTwn?, 
W viuitniwat^g.  N ’uramurT^r,  S -ht- 
TTWffT-  — 0 TRiiCf^  tfegft.  P "HTrea- 

o >o 

W is3!Kmrea3,  N “ginwid. 

VJS^SJ  >Ovj'^^ 

OR  ftjnj3SF?TITt533i^ i S H^^cohM- 
TU  "i!Uwi5wfa3t.  — P'^V 
3T*,  O fa^%  NSTU  %JT*. 

21'’  CN  ’sraa,  O -gra.  SU  »gi^.  — C 

VO  so  VO  VO 

fan,  P g,  W g,  NOR  omit;  T ?i. 
— OPN  P*.  W aftrj  n%  OR 
ujfkar  ?f%  TU  eifw3*- 


20*  C P <*fe»TT%  T *1wrsTiT*ff-  22  T omits. 

Iff.  C Pw"" iffiffK-,  T|22‘PS  — CPNORSU  W 


49] 


[ii.  24 

tTsn  I 

firora:  I ^ M'WW  fTST^^tarf^ ' I 

■ftror  fc^  (ftar 

HT  r«l  W««T'nil<*^  ft)#  iftlT  ?TTt  I 

•^3TK  <«<yiwu  ^ ft 

ftWT  ftWT  ai  nftlft  Hjnn  ^ETO  ^ H ^9  II 

nar  i ynwi«HH>iro*  i 

frt  y ft  y «!!  1^  55TIT 

'‘HU'»i<rJ«rT!!3Ti5T?gi?JJ1«Ti  I 
sr^ftift^fMft  5ns?3T  TtiRRft 

ft§^  H^g5^grs«j  ^ II  II 


— C srfgf^i.  p 3tfBfr»uq, 
W 3jrv5f*«,  N , E.  u- 

mwf^.  SU  qRi^mqtjifxSiUT.  — C 
NOSU  awn?.  — SU  add  ht. 

22'’  S fewftrar,  U fewftfrr.  — C 

A Ck 

qj  S Hrfw*,  U qmwsre^. 

O \J  o 

22*  c fati Belli  TiaRjm,  ws  fewun- 

€k 

— SU  omit  §a-  — COE  U 
— C qrr?i-  — P fiffafejfk, 
WOE  N fsurfejTfe, 

STU  fmadfa 

23*  C grrer,  OE  S U awr. 
— COE  garavjggn,  P ?TTaT°,  WTU 
fita*.  — CW  STU  fi?q. 

23*’  C . W fefea" , N 

fuffqq}|l!JUI9|rJnr«i7 , SU  “iieHAiiill* 
— C FTgq,  N Htarq,  T r^.  — 
CW  ?rNr.  SU  frfq,  T fnq 


23' STU  »Tt.  — POE  N aipff- 


T5STP.  STU  ‘TiRid-  — W *tw^,  0 
qrafeft. 

23**  CNSU  awT.  — U nwi-  — CPOB 
our.  NSU  3qi.  — CW  qwfijnft,  P 

o 


Uriftiwl,  N fri  Mfiawi.  — C aa,  PN 
ST,  SU  ar- 

23*C  traiT  eiimriailwHHmqig.  — NS 


I omit  tMH. 

1 ^ ‘ 

|24*N  OES  ’aasr,  U •ararw*. 

j — W “waftl. 

24'’  C aw''  — NST  »sTa^.  — T *ftr- 
M-tlljslt.  — W °^H^(ThT,  N “Tfrasi- 

^ o c 

5rrT,  OE  "THW",  S »Hfn,  T 
24' P »fTTra^«,  TU  — STU 

— W qnrgq,  OE  SU 
fT^sT,  T fiTjHeaR  — OESTU  »ara. 
1 24**  CPWNOE  froqrfk-  — WOET  «a- 

VP  . 


9>.KJT»5rahi 


[50 


ii.  24] 


' I »%  I 5^  ^ 

^r^f^^woTOTf^si  I in  'Ni  Tjt  i 

fwn^l^B  nnsraw 


mifti!!  3RPTO  fN  II  II 

TT5TI  I 


g^nsr  wrn  %iauR:  ?Tf 

■ftBairfe’idWr  i 

xO 

nifft  nai?:^fw*»»^Tirfip5n 
<«MKWl  isr  nffi^nsmi  ii  n 

ftrasrai  I 5tilT  airf^'  I 

wanri  <*««■*  fe«T<!4^T«i 


®T%  U — COR  »gfhw  ^- 
fmr  P '’xinlwri  N 

<o 

Tffiiw  '9,  SU  •HfwiM  rffriw  T 

o 

°^fiw  rfftro 

241  T omits  fg^o.  — C ^iBRhjTTTB- 
24^  T vft  garo.  — STU  inr  m TU^- 
— C , P W 

N ^j6yH<*n«f^<ii,  OR 
F®3wmirafij<3T.  — W fyf4u<ji. 

24^  N Haf-  — CPW  w-  — C 'rtTr^- 

o o 

^ilTT,  Pg^TOrftRrTtigrrfejT  S ‘gf^arci") 
T gra^rfWaTtRnun > U — 

\J  o 

CW  gira,  P ITO,  NR  irai,  0 g^- 
sg.  S omits;  TU  ncEl-  — W ^- 
frftr,  N HXTifM ; P adds  H- 
24^  T Hfw. 

25“  N finwni^inw  ftj.  — Mss,  •jr^sTfs. 
25'’  N iuiRiii  WTiTii-  — P “5^ . W fig 
4t^4ii4iit  N ftr^jTcrfei  OR  STU 


fe  ^lyujfis-  — CWSU  fagqui,  R 
fesyft,  T faa^jui.  — CN  ^rnrfe, 

«,  C\ 

w Hswfi,  OR  gragffe,  T 5W^.  — 
N 

26“  C Tran,  U omits  trar.  — P wsitn- 
— CPWOR  "sn^,  N fisaTain.  — 
N fin^,  STU  !ETH. 

26'’  C ^arTi»,  — PWN  ’granii*.  — T 
"vuliyi- 

26' T %grr-  — STU  — N trfgn*, 
STU  qfgrfe'-  — CU  •^nw,  — N 
“^rrfinssn,  S '^rafinggn. 

26'*  CNOR  -figgffe,  PW  -Tggrf^.  — T 
TraTftj- 

26'  STU  gn-  — C f¥^,  PNOR  ot- 

iii  I Hi* , 6s^* 

27“  CW  TmmjT-  — Mss.  *snni-  — Mss. 
°wlin  (P  “iry^nr)-  — Mss.  aroifhn- 
— N g,  0 g R 8T. 


Bl.] 


[LL  28 


C\  ^ x3  ^ ! 

ynt  ^ w fx?  ^ri  ftar 

HT!T  rTT^T  ^ ^<RWT  II  II 

vO 

TT^  I arm  3T  ^roqw  ^rf^iw  i 

N® 

r<*f^iitLi  fcRaturfdf^^Sn  ^ »!!#«!! 


rr  ^ ■si  fwf  3npn5?T?n  ^ 5(fhTfTniStaJt  i 
5if«r  TOj^j^TSFrot  ^ ar  ^Mtai^wt 

ffftfi  mwM^afR  f^i  fti  ii  ii 

fraam  I ^ 35  1 1JI  ftiafllflU  ?TTC 


27“  SU  fSfil-.  — 0 -jflTOB.  — cw 

^iTit^i  S ai?T* 

27'  C <Iii3f;uq;<^i'fe,  NOESTJ  *^,  T *ht- 

F-  C ) P f^TOIjS  t ^ 

o>ltf<5,  N »ft*nf<i,  T gfggr?.  — ST 
fe.  — 0 frea  ftw. 

27‘*CN  P ?»5EJH,  W HrTsa,  OR 

iraR,  SU  ^Nr®,  T — COR 

o 

NST  TO,  U f^.  — C HW- 
— P chkiiifad,  WSTU  •<nfmi,  N 
<TirftmT,  STU  a«iH'.  — C val^, 
PW  SU  — C 

27^  CPSTU  omit  TTSn.  — WN  omit 
«Tfe  3T.  — CP  fnniH.  WOR  ^ifri- 

V vd 

gra,  N TO5Rf,  STU  BTnagf.  — C 
STU  e«s3i«>  OR  arfira^-  — STU 


ghfffti,  WOR  fytKaal*,  N ftraqrfe*, 

S ?rftr- 

O 

28*  CS  eKfero,  NOT  *to,  U *jto-  — 
P fa^fa<u°.  — N 

28‘>  CPW  Oa^rTSI-  — 

WNOR  fujqui.  — R omits  “nm*. 
— CT  B^wrnnHrt,  W to^3- 

28' T fr  grfw.  — W figgii^»ri.  — C 
»tot,  STU  njnrot  (T  »TOt). 
— CPWNOR  swtwrawt,  T 

28**  P Hwif«,  S wBRSwra.  — C »nitR. 
— S 5FT.  — ST  fe.  — N wn®’. 
— T 

28^  CPSTU  omit  rera^mi.  — C ftp 

P g W omits  STU 
TO  g ag.  — C utwro,  P 
^ N 53  g,  0 53,  R 1P3S-  — c 
fH3dlqf<i>  0 faoif«3Tf3' 


omit  55T.  — C rfcKadluy,  P fy*a- 


ii.  28] 


9k 


[52 


I nTO«wf^  ftr  Hffwxn  w i ^ 


rra^Rnsnarf 


■firar  wr^^rfisTOar  -ftirl^ 
ri«!nr<4  fisHTHar  fnt 

^1^  Pgi  m f k»J >^r«h<<i!  i «T  anfiRfij  II  II 

fiaQ<j,<jnr<‘ I ri  ^ inn qn^’i 

I -^3^75^  ^ rf  I 


28^  C ggVhi^,  PW  OR 

^■srhi  garonTT  fr!isr&T!i>  S daliJ  fiir- 
a'w<n.  T U 

iir  — CWNOR  ftrorr,  P 

28^  P HUWgTTg,  W mwfiTTT?5,  N 'Wt- 
f^.  — P frhi  fe,  N 3TJT  fe,  OR 
3TJJ,  TU  omit  fe.  — C ^ftRTO,  TU 
faarof^*"  — W gra»T3T-  — OR 
omit  4iUJ4.'’. 

9 

28^  C omits  TJ  ^ ai.  — CT  "h- 
ggrm.  — PN  oiift  fe,  8TJ  omiti 
T — C aft^^TTfem,  PW  3^- 
nrr,  S sftsTnsff.  — P mift 
N wfeiT  OR  wfesT 

wfinWi  S 

29*  N ?r.HT.  — NOR  3ra%  STU  ^nj". 
— CT  °qfifagtniaT,  P °nn^,  0 tj- 
w,  R "uipo-  — C finfegft,  P fn- 
f^,  WNORSTU  - C 

?W»  SU  fTO°.  — CPWT 
NORSU 

29''  NOR  T 3T3’.  — COR  *^- 


P "^T^wfert,  W 'srwfr^,  N 
-giufajt-  — C qglf%,  POR  H- 
bWts-  — 0 P N8U 

%?TO,  T %5Tm.  — C P 

WN  OR  *if<yriifg. 

29'TU  duiifa-  — N fcg^rmsT  omits 
fiiT.  — CP  W 

FW  Hu^fiu.  N I S 3- 

tOwtH  fTTTTB,  T Ffrrfwfff  Hr. 

29<*  C °triF<.fd-^» , P ”5iTd^“ , WNRU 

•qiftg^°,  OT  — PORTU 

N qt^.  — C wiwfni,  W 

wiferff. 

|29'C  wq  HjgqrTO,  P wn  q qr.  — 
PWOR  qrftaT5T«ft,  STU  *-tgr^.  — 
C ftijdreiwfei)  N ftirqgwfg. 

I 29*  P omits.  — N ^ q,  S fr  qqq.  — 
C ^qqr  WOR  ?nr  *!•,  N gqiir 
fi qr  qrr^»  SU  nq  qf!"?  T htst  qsr*. 

29*  C qfiiainr  f«rwiidi  fqqqujr,  N •»- 

i hIh,  ST  •aTTHT. 

29*  CPW  Trarr  Htwrmwfq  fq^q*  wfn 


63] 


fgrfW  oTSrfWaFTT^tTntl 


[ii.  29 


I 3T55T  I 

^J¥T'  I W I 

Trar  I I iTT  ^R^r^lisillii  «kR?5<l  I 


I i^HwrftsT  ^lif^ai  ^ fH  i 

I €t  rit^lP^ifl  ^>55TOWr’“  I ^ 3T^  T(^ir^- 

vO 

Ft  «5?-'^i^f^aft|t"  I 

^ tiftapji  *<dHlui?«33n  Hii«H:‘^ 


(C  UrUTl,  p omits  fe“  ufk)-  — j 
CWSU  omit  S9TW;  p vn  gow 
— CPO  tnn.  — U omits  fj.  — cl 

v ! 

29^  C »Tt  3T^  — CW  P f%-  { 

^HUJ’aaHifJ,  NR  fwMTjjr«jT  O f%- 
atmiiTj-jrid,  S '^3^  T f^- 

I — 

C adds  jfrt?  arfea^wT- 
29®  C fT^r,  P af?.  CR  afsi,  STU  omit. 
— C omits  33^5 ; P dd^  jfini? , w I 
iftfr  qraiT  N — CPW ; 

o 

NOR  omit  tnst.  — P omits  5STO°. 
— P O ftfdiH-lT,  RP  f^- 

5W,  T f^^tfkif.  — p MmdfgHMT, 
W MiftirgsgT,  N Mritf^jawii.  T anr- 
Thrggsar,  U wftftgBon 
29"  CWNRU  w?7T*T%  P ni*4u®,  O jrnrtr, 
S iH7iw%  T — P “g^- 

fgni,  W»«f<stgdui  5^,  N »^6r&- 
— S omits  — P f^- 

5TO,  W f^gtarraziffl,  NS 
OR  fijdirHv  fisa^Hcil-  — P 3|si.  I 
29*  OR  omit,  N omits  Tran.  | 


29‘®  PSTU  omit  m.  — CPWNST 
IT  iT^o.  — U omits  fti-  — SU 
®°.  — W 51,  T 

U ®fe»TT. 

29"\VNO  omit  fa|»;  R — W 

NORS  T fen  ?n  w^fijraxirT 

Cv 

fe  ^ URgT.  — C 5T«ni- 

o 

5trl,  P °w5t^,  IV  OTimoTtfen,  ST 
U fera5WT55TTftw.  — CPW 
NSTU  omit  JFfeaf.  — CPWNS 
r<jj|;-  R H^fw. 

29'^  C rran,  w tlfW  instead  of 

rr^n.  — CW  grro  «ct,  S wr  grtr- 
— C dijifTjrii,  P fmrfert,  OR 

O 

'f%rTt,  T H^ifisdi.  — C ar^,  W 
w,  TU  cBs^gyaft  (T  »5^)  wrgrrai. 
29»*  OR  5T^  w.  - ST  vidiP^di,  U 
ddrdt-  — C »crsOT  P “cRg- 

nirifWit,  W 'aginH'fiirgi , N -cra^ 
fd'eai , O °ggauifmgT  but  iir  is  in 
the  margin  corrected  to  R 

'g<KTOTfin^,  T »g^«ifd3T^. 

29'*  C qfc«iw  q^traw.  — N q- 


— WT  HlddfH- 


[54 


ii.  29] 

ar^“  I 

xmr  fTOT 

■'  I >rr  gftiflrg'<t'’  i 

Trar  I rdt^lew**^  1 3T|t  ^Rinj  gfisflr- 

1 ^wnrawlaii”  I 

■f^ra03T^  ^^ITULll  *U!4<?J  W HU’ST'i 

^Tfhsi  fpirsrfinflaT  ai  ^ 

^r^TRiterewwt  ?o « 

aif^sr'i 


29‘®  P 5itm  -^«wtT4it,  ORT  omit  — 
W arearTwr,  N 3^,  OR  gnm  ar- 
ST  an,  U omits.  — C q;- 

00  VJ 

Grt <*w fill s< Pci '*()  P q<?r5’,  NTU  mf?i" 
aT’^  0 q;f%3T'’  in  the  margin  cor- 
rected to  Tsfijr^’,  S "’q^aT-  — U 
”53?. 

2916  STU  omit  ht.  — CPWNOR 
STU  iir?!.  — CP  w^RTaft,  NOR 
fuaTctaroft. 

29^'^  STU  rTOT  ejRH:. 

O 

29^®  T Tifffgf^q.  — C adds  gfk. 

29‘®  C wt  gqw,  S wt  wt,  T rngrt.  — 
CN  ^hrfe,  STU  3^R?.  — CW 
'’^,  PNOR  »ST^. 

29*“  C feo  ?37Tfi  fg?|qfrT,  PW  fe’  ^ITH. 
29*'  CW  vtw,  P *1^.  NO  %TP,  R arm. 
S nfc.  — CPT  WNOR 


«l"ili»’)  SU  5iqR*T5R?5, 

a 

T — C P 

W N “JT^.  — P 1h,  N 
omits.  — C , N fiirfe- 

Rrrf3,  S finadlarfe,  T finfj(Kfk, 

U 

29**  C qq^na  PNO 

— p adds  qqrm. 

30*  U Garamifn.  — W Huioi«<«1w35reT°, 
0 “RTfru-,  R omits  nTaTT“ — ar 
301. 

30‘’C  Ga^MHl,  P far4U>RfO.  w fe®T- 
N q*rarft,  U GsreaRfft.  — 
T “qiTR-  — P °5raqi,  N “diiqi. 

30'  P farglfT^<n,  STU  Uxiftdiqr  — Mss. 

°fi!lfe3*.  — T KaT3W- 
30‘*  SU  ^tsn°.  — U -RTO-.  — S °rR- 
RT.  — w — p nr  R. 


B5] 


[iL  32 


Wrf?  r<4'^(ls)l^<.rt*>r<urc(«MUHg«T<5y?iift 

^'Wlt  5»!r3;  <LHRifl 


3T  jI«Um!l^<»Li 

3Tf%  ar‘  I 


II  ?<)  II 


W W TITIIH)^*!!  II  II 

fjdq*:  I Ht  HWtf  fH?‘  I aiTf  ^ f^T^wj 

\D  vD  ^ 

■sr^ftr'i 


31*  P W iftarfiB  instead  of 

pff\5.  — WO  yjTuaMacr,  R *3t- 
yana*!”,  S •v3TrniT%  T U 

arft^  ti<?i(ts,  T 

31'*  C a^fb^TT',  PW  fggfi^HT°,  N fg^- 
feiriT*,  ST  fawfttTHT”,  U apafesn”. 


— C °4uiujtsi<,  P “arTOTKa.  N °tnr- 

s> 

TOW.  OR  »TOTTO?rar.  — N a^. 
Sl'CPWOR  TOrofa.  N °^.  — COR  »g- 

o 

TTraTO°-  — T omits  to^hI- 

o 

31*^  CP  jtar  aaTa  (C  -tot),  W TOfff 
sl«i  tjtiln,  OR  5^  aTTOT  ST 
ata?.  — SU  ^tror.  — P TOroronTO". 
— S “ittoT.  — C g^TO^^^f^.  P 


TOgTOj^TO^.  W ^sroa^rof^.  N g- 
jTOife  OR  TOaro^acH^,  S g- 


ITOsaj 

Esj 


1^,  T U ui’. 


32*  N “TOUT.  — C TOtTrUTOrflR^.  P T- 


TOijTOHfSrifiOTO,  R sj«uH°.  — N °®a, 
T ’rgt. 

32'*  C {JTO^fTOi* » P TTO35^TOT° , W toTO- 
ffina",  N apar^fw,  0 ^iTOaiftnas 
R jt*H4;AfTOg%  SU  ijTO^fTO3“,  T 
ajTO55rftinr-  — ^ °a?aa?ir,  WO 
RU  N »w^^ 

32<=U  fgronrofiiraffga^”.  — C 'gfroa', 
PWNOR  ^rfroa». 

32**  STU  TO  5KW  ^ WTOTigi.  — CP  »w- 
WSTU  — P fig^°. 

32^  C I natRaT^-  — STU  wt  g- 
aror.  — P -gnTt,  T »arTt.  — W 
ag. 

32^  P ari?.  — CU  aro,  P aror-  — P 

O VO 

N fgfgrwt,  S afg»,  T 3fa“, 
U gf^.  — C fg^rfta,  PS  Igrarfrar, 
N igraTT^ia,  TU  omit.  — P gg- 
ftr,  N omits,  STU  dTO^^j. 


iL  33] 


[56 


•i 

^ <4 Kxi fetaj  far  i 

TOTO  WTi*lf*lU!!'3u5^!!  H 99  II 

T»roj  I 

«^fl«  *< Rllcti^tfihff  r«lK^ «B  II  98  II 
riK'<l<^«ll^rfl«<'rt«r<,^M5<ll  ^ fKt  I 
r«t«M<i,  ^ ’NiftR^ait  II  9M  II 

^ig^Mcraminrgiai  «4r<^«<i  r<4ant  argii  i 
toto  wftn  r*LHwrfjii  i ii  ii 


33*  C tram,  W rran.  — C ■Tjfeg^qtn- 
MK^fua,  P *9^,  N "r<U«MWmtu1- 
fer,  P 'tfmr,  S •w5TtijnTriw35rT5, 

jphwsgTO.  — P sRnr,  N «Tir, 
OP  TjaRoT^  $,  STU 
33^  CW  fgOTcE;.  — CPO  W oip- 
TQ,  N P TsafTT^,  s ^jrfr^,  T 
U — T fear,  TJ 

m.  — N THufir-  — P '^HTfir- 
0 ‘^faiiifl,  P "fairui,  STTJ  •$- 


HtTtra. 

34^  CW  TMT,  N snir  g,  S « gsre, 
T 9fT^?n  % TJ  OTff  g before  the 
verse.  — C P 

Hl«l«w<llr<ins,  N 


ai.  S “arf^rry  U — C 

o o 

PWOP  N 

T U 

34*>  C far|”  W S fefa- 

U -a?.  — P fa,  S q.  — 
S afta  corrected  to  aftaftfi-  — 


P 'tratir,  W qiaafin*,  N wfwaa- 
qrfqrfeai^",  0 qrafirfqi”,  S q)Miial°, 
T aaq??^°. 

35*  CW  rran,  T %rfe  sr  before  the  verse. 
— NOPT  ara^ranr*.  — P 
W •u«fjLu«ftmfqi^ui,  N °afiwgwqi, 
S •sratHwes^,  T °qg<HW»^qi, 
U *a^Rfrer6®^.  — C f[m,  WOR 
a- 

35*’ CW  fa|q«:.  — P fa^r^,  W fe- 
fwvsKat , N fafjp?,  OR  fafjfT^,  8 
TTJ  laaitT-  — CNORT  ca. 
8 5T?,  TJ  faar.  — P wawrafts", 

Oo 

W armn3g° , N aiftirraTR",  T 

OVJ  O O O \j 

aT3^“.  — TJ  “ata-stuh  — P fe- 
faqa^a^aft,  OR  fafaalgire- 
36‘C  trarr-  — W awqa<n°-  — N 'q- 

V5 

aftH3T°,  TJ  “qatiil^lftsar-  — C ->a- 
Iraqi'S,  STJ  (TJ 

OTT^. 

36*>  CW  fijaro:.  — C TfTfiijq,  W ^ 
jrfe  sa,  N T wfifiar 


67] 


[ii.  40 


^ ^ niu^cft|Tn  II  3s  II 

•g'%  i 

3TT^VfT  ^ TT^^nnW  II  ?b  II 

oR^  ft  TTT  t1i%^  f%  ^ 1 I 
5^^  ’5rWT^"TOfpfT3T^  II  II 

^ XJOT2:  I 

w ^ ^ ftrjT^  II  8o  II 


3TJT-  — STU  tiT#H.  — W figirfw- 

O 

ofk.  U fiirSftafrr^g. 

37*  C ?T?n  TTaTT,  W ttwt-  — STU  fn- 
— TU  °^3T^.  — T JT^.  — 
CPS  a^o.  — CSTU  °qHUW.  N 

o v>>o  o 

37^  C fa|°  I fire,  NT  — CNORT 
53.  — SU  — C T 

U o^jft.  — CN  imuiii°,  W 
1171111%  STU  TTsnir-  — C ‘’^^,  PN 
'*i4'iu,  0 “aTilm,  E ST 

'cKtiftji,  U »<*|rw. 

38*  CW  nsn.  — PWNOR  marurre.  — 
C PWNOR  N 3- 

HT^%  SU  iwft:%  T -^afirgr-j.  — P 
omits  arfir.  — CPWNOR  3)rHT'<S,  T 

**  O 

— C 3?Vaf>{<Hm,  WOR  a^feo. 
38»CW  fa|33f:.  — CP  3TjjfiT,  w V 
oifH,  N ^Txjfigfir,  STU  ^gfri?.  — 
CPWNOR  53,  ST  fear,  U fijar-  — 
C gurraa",  PW  “ftrf?TO%,  N ■^, 

o o 

STU  ^aHarfy^lw^TTu  atuniaj- 


39*  CW  rrar.  — SU  — P fe- 
r^,  N Taf^Riaft.  — CPN  3ifi|, 
R are-  — ORT  fe.  — CPNOR 
W S TU  — 
C ^jfir,  P ?fir,  NORS  — C 
3ire^,  N Tisre,  T Trere,  U 33^. 

SO**  CW  f3|33i:.  — C 36^?,  P fiigre, 
W fur^fw,  N ^3T.  OR  3^,  SU 
0^,  T 32  37rfl'’.  — NO  awi% 
R ma^wafin,  N »3W2fs»,  T »a- 
waf<i“,  U «3af2'. 

40*  CW  TrafT-  — N omits  S 

— C 3re,  P 33T,  w 3are.  N 3- 
arre,  S 3a33,  TU  3c03-  — 0 fe- 
ar^- — C °5rre,  STU  "are-  — 
SU  CTar°-  — N narhr,  OR  »3j^, 
T °333°.  — STU  “Tifidre. 

40*>  CW  f3233?:.  — STU  aro  ^ m,  U 

Cv 

aro  3T  ^ TIT-  — CPN  fai^.  — 
CPNSTU  omit  3;  R ea.  — W 
fiinJn  — T areafaaTfi. 


ii.  40J 


[58 


tran  I Bfaoran'  I qjq  3^lft^<sj|  ft^T  *R3 

fr^?  W<ggaj|<U<!!ai<iiTi^‘l 
fera:  I wr  wf^OTjni  «rre’  i 

T13I I TTT  ^ >ror‘  I f^ar  f^  ar"  i i 

^ •spgTO'^ 


40^  CPWSU  omit  cRy;  T — CP 
OB.T  ar^r^JBT,  "W  srauiirTf  N ar^- 
I > S ail  *^41^  I ar  r U ail*3^ii  i* 
After  gfiar  P adds  glHlflfft»  W 
adds  dlHfvJ.  — SU  ^hTT-  — W 
ftyT  OE  ft#  ar.  — C XT3,  0 


W15!.  — SU  frrfT^.  — C 2f«u«yai- 
^rmini,  P WN  «ftr- 


OR  sr^r^a^T?  JT3?r  (0  «r- 
35!)  !ir3T!irT^  (0  »?),  SU  ‘TffaTIirT?, 


T 3HnftwaT“. 

40*  P omits  ftr5».  — ORU  omit  rTT-  — 

Qk 

C fa^-Mlgl'SO,  P 53 

W N ftra^HTsrfaaar, 

o ^ 

OR  ftr35is#s  53  — P Mtllfe- 

o ^ 


gftiTfT,  w °in^»  N iWHII  !!T^ 
%T,  OR  ig<iird|T  rttKfliu  xn^,  T x^- 
xnfd^m-  — CT  PWNOR  omit; 


SU  5#?5- 

40*  P 5rawT  in.  — NORSTU  xi53. 

40®  P 3XIIXT  «ft#33t?,  W tjxuautyft., 
OR  -gft,  SU  “3ft:,  T — 


WORSTU  53.  — c ftrssT  xsr  uxir 

' o 

XU56I  3,  SU  xixxijfcjgr  3xiigi  ar- 
40®  C w ^ txirg  xm. 

Ct 

41*  N nfydii.  — P W 


— SU  anra!|?.  T °5!^. 

41®WOR  3if#5-.  — N °iiHqfaix°. 
— W “sraxnff,  NSTU  °3ixuxul,  OR 


“ftixirxii?.  — N i*f(«!n,  TU  — 
CPW  “rmn. 

41'  OR  — N 31^.  — C faisx^, 
W fgxix^.  — N ^ftriTT^  — CP 
W , STU 
— C 5fl3,  S U 3nt- 
41<»CW  P N ORTU 
5TO,  S arrar.  — CPNORSTU  arxit. 
— C a^axrragxril,  P srfxraxrrstxirxifl, 
W axijixtr , N aixuixTora^.  CR  s- 
ax5!X!Tf#x!OT,  STU  fd-gacrfesii  (T 
fijr^arxiT",  U ftw“).  — C ^^hckaI, 
W N 5R5“,  OR  — 

C P fadifd,  W gxife,  N •%, 

OR  53  3T^,  S w^,  U f3«l«. 


69] 


fgnlci 


[li.  41 

I iT  Hin?gsa‘  1 5V  fwsRTWf  xrf^- 

% fi’i  ^rgr 

fTOT  ^ 

TTsn  I mfniu)  3T%nTTftrR!T 

I WT  ^ ^ iTR  fnftiTt- 

cT3iTTTHTTfP‘^  ^TRT^ftr*  I ^ '*  I ^3I!T 

^ ^ fwf^^  I 

^ I I IT3:TTfJ7lTfw^‘"  I 


411  P 5^.  _ SU  omit  a.  — CPWNO  ; 

ESU  wrnar-  j 

41'CPN  m WORTU  S 5T^. 
— P 3ur«f«u  ft  ftraft',  S ^srftar 
gjT^;  T omits  ftjT’;  U — 

N »!it|3,  S »gr^,  U “UT^.  — CU 

SJ 

omit 

41*  W -ftjfr  gift,  SU  5®r.  — 

STU 

^1*  C ririi  rrar  rnrr  <**rt  t P rnn 

O VO 

rrSTT)  W JTOT  4*»Wf  N H^UI  SF®. 

o o 

41*CPN  omit  rrar;  W nsn  wttiiwfw- 
5»ft-  — C srftftftr,  PSU  3T^- 
ft?T»  W ar^ftft , NOR  arrfeftT, 
T ftftrr.  — WNOR  ft.  — CP 
r^^i«ui,  W figH  I f<u  > NOR  gnftrftr. 
T grroftr*  — C wnrftjiTf,  P httt- 
ftdiftw®,  WXOR  ^'rttiaar’jfin  (OR 
TOra’),  S aT<HfTifttnl>  TU  ar^^ftr- 
ftuil.  — CPWNOR  omit 
S ‘JTraflj®.  — C aroi^rfw,  PWOR 
aro^arft,  N sr^^^ifa,  SU 
T V 


41®  C fnar  — T “hW'cI  — P ^irj 
Taw  — SU  — COR  tan, 
N omits.  — STU  omit  afg.  — W 
ftrftrftnr*,  OR  “ftianT®.  — CPW 
nuiift. 

4UC  nft-.siiJi,  P nfr  fttaiw,  WOR  n- 
fftnn.  — C ft;^'fta  arftR  ftrang;:, 

C. 

W fftrtgg,  SU  ftraniirantgg,  T q- 
fftfRjTn^rftii;  PNWS  add  g. 

41®  CPNOR  rntT-  — STU  omit  nm.  — 
STU  ^ naq.  — CP  ftqgl,  N 
ftarftiT,  SU  T ftar^atft- 

CW  arnrsfe,  SU  anai^®?,  T airan- 

41®  P «fiTtfgg>  a.  N ar.  — CPW 
OR  n^ar®,  N Ararat  ar-  — CPN 
arftjt,  S ejft?aft,  TU  gTjlQ  ^rfeft. 
— CWNO  nn^f^,  P Hfjift,  R n- 
S omits;  WNOR  add  ft.  — 
STU  add  nr  ^laurlait,  after  which 
S adds  arfe  Tirm  nisn  vft. 

41^®  C omits  ; P nf  ni®.  — C n^nr- 
rTiproftnft  ehwtiisKlw+tUw  ifyHJr^ 


p 

! 

ii-  42]  jfrgTJT»5!;.h?  [60  | 

3fT^  ^ I fTT^  ii  ii 

fdgUeft « I ^i<ii|c)tilcti4  'lartt  ffffin!NanTHiTT»flt)f^<i 

amar^’i 

fr??:  nferajfd  iwul  fawgun* 

ftidgiMi  I uftaiw^  I arft  r«^<^<i^=ni<|‘i 

•i  ^’1 

fa^un  I f^rfwN3iTOn»p^*i 

%ra:l^f^’| 
fdTxiraJfll  I f^“  I 

ftira:  I WI  »11 1^  3T5  I 
fsrera^in  I fti  'Wh#“  I 
I Tnfni3iwfti^''i 

CW  omit  anTwrar;  PN  fesT,  T «- 
M^. 

42*  C fiiftii>iraKtJd>t>  PN  ftiftid- 
*4TJKyi«ul«nEflI,  S fvfvOira KPJ  Wlfl- 
5RTT,  TTJ  iroif^gT-  — OTJ  add 
42^  C ufttfiwrB  ftragnn,  NOR  omit  fe- 
«gnn- 

42*  P — C jnrrit  ffTFi  P 
feo,  N w^rft  fir.  — 0R8 

42®  C adds  dWTC. 

42’ P wt,  W wr^,  OR  firsT^sro,  STU 
wt  fijST^JTOT-  — N fiirfiT?- 
429. 10.  IS  CPWNOR  wt.  — U omita  42>®. 

42'*  P w^,  W W5^,  OR  ira.  — CPW 
fii.  — P «!.  S w|.  T fiffis- 
42**  C atro  «Kt. 


adds  arfe  nrw  fnn  n a. 

42*  TJ  "311'’.  — Mss.  “grurT.  — T omits 
fe.  — NT  omit  SU  %t-  — N 
tfttfatuariin-  — C ’finhFsnnr-  — S g, 

v> 

TU  w. 

42®  STU  omit  8TS?.  — STU 

aranfi  (U  «rfir  8 “wn).  — T nar.  — 
T omits  fij.  — CP  u,  N aror,  STU 
omit.  — SU  rra^  fir,  T fit. 
— ORTU  sr^dfist,  S ar^ 

42*  C fiRhRi,  P gwiddtdJiii,  WOR 
HWfigHt®!. 

42*  C aK>3,  P wfij,  NOR  anp,  SU  omit. 
— NSU  fear  fe.  — 8 “ftarsfiT*. 
— W ®HTwfi*r,  OR  omit  °gr*jiiil‘’. 
— P “gfesrewT,  OR  “irfesrgrm.  — 


61] 


[ii.  42 


fad5<*:  I ^’CCnTT^’^TJ  f^i* 


r^iddmi  I 'Ni  ^ ^ mufti  Jifirorar  ^HTsj"  i 

fa|>ra:  I g»i  flj  TJI^muftl  <kU{J*l«(tli  I 

I 7TT  ^T^TTRrt’*  I 


CciqcIcA  • I g?  ^31^  *uu<uy”  I 

I Tn  TTfiTTOT  H?  mu<g%ig^K 

HT?  ftiPn^’isiKuim^nu  r<=rHr<“  i 

I m qfmgq’’*  I rril  ■5|ft  *!!l3l'i^ftl”  I *fi»  I ni 
»%“  I HT  ^ I 


42'*  C oraita  3w:  PWNOR  rm-  — NST 

O 

WT?TO  — POR  add  ?TO- 
42«  P og,^  _ CN  omit  fe.  _ S 
qsm®,  TD  fti  3m  eRta».  — N adds 

A 

42‘*  T gw  fe.  — W wrmfw.  N wnnife. 
T srmrfw  diwrtw^cft  wi[ttt%t?w-  — C 
3wm  ^ cswm  fw* 

42"  W 3 ?ra.  0 fw.  — OR  fii,  STU 

v>  o 

omit.  — C 3 gfWrfe  fe,  TU 
3m  Jir  — w mrmfw,  NSU  aurmr- 
fw-  — T u^KisT,  TJ  mm'*  w?t®.  — 

A 

0 3wm.  — C adds  mwm. 
42‘®CPWN  ^row.  — P utwit  N 

v> 

n**. 

42“  SU  rT9T-  — Mss.  jrnnr-  — C "um 

V5  O 

^[3.  — PWOR  add  fagfg. 


42^'  W ‘•TTm'm  — omits  Fig  — Mss. 

WTTT3T.  — C ‘garnraw,  P 
W “3HR.  N o^snrttw.  T “ctanr.  — 

\3 

C f3(5i<i«,  N far^  jm.  — T ai. 
— CPT  3WST*,  0 33T»,  SU  3M- 
*nm  3“-  — T fn VI 31^31  «i?<  — P 
fs,  STU  femr- 

42*^  C ?TTWTfw3iTiwf?iT?,  P HTfnrpfra  fm- 

o 

fadxra  RW1  walw  la  ra , WOR  diwm- 
rW,  N flTW^WI- 

42“  CP  grfH  gm.  NSTU  mf^.  — CP 
iTiirafti,  W mmtffa,  STU  mraw 
— OR  add  % fwfwfraaiR- 

wiwfwi. 

4224, 25  QU-  omit.  — P HT  trfH. 

42“  N STU  — CP  337T3§, 

o 

N 2r3nn^,  S gwre^tm,  T awifl- 


ii-  42]  [62 

I I 

* I am^“  I 

I wf?  «(l«rJH<!<Ul  fw%  aaUTtf^”  I 

I ^ I 

I ftsRifiT^aiaTOtaii"  I 

fero:  I rn  I 

I Ff  5TOT“  I 

rffwar^TOtan  a(i(rf^*u<«u!>nv)tr5<!!^j*ii  i 

f^3TOfnI  SBTftreft4!i  m tTO  ^ ^tl^afT  II  a?  II 

Tjfiti  w «m«mr<'i 

I (IT  fwsjam  amftjai  trRrgf-<j«HTi- 


^Snr,  U 3duatin- 
N SU  omit. 


— Wfi  omit  gruT; 


42^’  N omits.  — OR  add  %tT- 

nfawfe  (R  wrarwfe)- 


422«  N omits.  — CPW  OR 

fn  rife,  SU  T feifttTi- 

42’“®  N omits  — 0 srnnri^,  P8U 

•fl«,  w fclMHl),  N T 

U cira=.  — C fefer,  N 
rifei?id,  U fHijff-  — T aTTftferar,  U 
“ftrafT. 

42®®  NOR  cfft  ST  H i *• 
42®®  N omits.  — P W giv.  — 

o o 

C "rPisiT^fen,  STU  'siaiTTfrw. 

42®®  N omits.  — T HI  fifi-  — S afi5, 
T H. 


afg,  T 51^. 

43‘  N feagilTT  before  the  verse.  — O 
omits  43.  — CPW  gre°-  — C ®5r- 

o 

TOIlftqi,  R •ft^RTFrar,  STU  «fe- 
M*<igiair.  — N r«iiiuici^uj^^<4uu'^- 
OregT,  RT  -aHUlTirUU''.  — STU 

43®  C fferfefH.  — OWN  uai^ni-  — 
W omits  HT.  — C atgOrfe.  — 43 
is  not  reckoned  as  verse  in  C. 

43®  P Sanskrit  only.  — 0 omits  irfeg- 
— C m H,  T omits  H.  — CPW 
OR  ?TT7TS“,  S tjin^wra-  — N 
adds  fe. 


63] 


[ii.  43 

qrfw"  I fTOT  Hidyrd®  I nsrm  I ^ 

Trarr  rrm  cKnfn® 

?t?t:  trfeTliH  faljciH fun i 

a c 

HiytUVaU?  I sjiy  I 

feTjaun  I rtlWHHrq*  I ^iOaiT^  wnftj”  I 

rrar  I ’^3TW  'd<U  rT”  I 
feHTrat;  I emr?lf^5Wft^  5TTO'’  I 

fdvtauji  I 


43'  CPWNORSU  imw.  — S 

V 

T oTjfafwfiBtO  I U •qarrftjfft.  — 
C "OTFfft.  — N snniTaT.  — C »fe-  j 
WfTTsfea,  P °qatfdgl,  N ofaweid-  j 
fta,  ORU  ‘’awf^,  S “fagudfiST- 1 
f|3T,  T •aTTftf^.  — CPWNO 
sfesT,  R 7ife%T,  STD  aiftH-  — W 
omits  5^.  — P gTriava  a,  STD 
•5^.  — COR  W art^w. 

S aoT^,  U aiisw. 

43^  C frm.  — CPW  ij<idf<Jr«i- 

43‘  C Trar«wrg- 

43^  CO  >rt  once  only,  STU  omit.  — 
STD  3|f%  9.  — WOR  S 

a«Kg<n1w,  U otji.  — P «a^FdFigUr 

43^  C Hrrt  Fgajfrf-  — ST  — 

POR*Mft?mff,  W “MHiri?. 

A Ck 

43®  C ara*  an?-  — T ars-  — CWN  un?,  j 
P fi  am.  1 


43^  C PWOR  hihuhcQ. 

I 43^^  C oniits  CPO-R*  93^4}  ws 

I a?^T3»  T f^FTa  > P ^arT3-  C ^ 
P ?T  a tfsa,  WS  OR 

G^*!-  — C Hwrfesfe- 

43*^  C trar  ftra*  *n^-  — CPWN  wjf. 

C W 

— T :aai  H 5MW- 

43^*  N fTHWM".  — C -frfcft,  OT  *Hft- 
R 'Htt,  S •dFi^aft;  w adds 

wfasT,  S adds  T adds 

«^iT  FuiH«Kal  u adds  filfwi- 

— N gnrng,  SU  amirrf?,  T 
01  i<u  fa*  OR  add  4.1G11  cigi  ?k* 

43^®  C faa«  wim^e  1 ^ a#,  P an 
WNORS  U omita;  T 5^  after 

ar-  — P aniOT'. 

O O 


c. 


[64 


ii.  44] 


Tran  I 


^vilnquHa 


I 


clf  5=^^ 

5j?  HH^^ra  Tfw  wt  ^mwr  ii  88  n 

%ra:  I 1%  I I 

^7^  i7^3T  I 

77^  f%  ^nnfiuart  TOram  f^ar  ii  8m  ii 

Tran  I W^t‘1 

ferawi  I araj  fw^|^’  i 

*gtnadRl  %T  fHwraCTt^rafH’ 


44^CPWNOR  fg^snm-  — C P 

ograwra^,  WNOR  -Tgsat,  STU 

u 

44'’  SU  TWH”-  — CPW  •a?j,  N •Snr.  — 
NSU  •f^nr^,  T •f^Tnji. 

44' W ^nrr*.  — PST  »h1wi  0 »h- 
^ _ CPWNOR  ST  3- 

fww. 

44**  C WRIT" , u TTtR“-  — N °5Fgni  — 
COR  a?n,  N ?rar.  — S gn?n,  U 
offOT.  — N 0 R omits ; 
ST  9Rrm. 

44'  P wt  wt  W vft  wt  ftrara, 

N wt  $15  7j,  OR  j$,  STU  »$ 
53TW  $3^  — CNOR  JTf^% 

S ^ awtinfisa",  TU  ^ (T  ?^) 

awia*. 

45‘P  «ira5ra%  RT  vir^TraE-  — 


TirHf  (W  fjT^v).  — WN  S 

•3K5t,  T 

45*’  N STU  9Tf9T-  — NSTU  omit 

— c . p gqff^al,  N 

S TU  vfrnd 

instead  of  gnm" — HWfnnc^.  — OR 

oo  o 

^wTftffSTT  WMTiret. 

45*  CN  irfcj«l,  S TU  — 

P wg,  O gira,  R ggrea,  SU  coa, 
T 5R5.  — POR  jtTRwm,  N ^- 
•msTOf.  — CP  unn^,  OB  oj- 
«nft. 

45^*0  Trf?  5#.  PN  TO.  OR  «nc 

45^  C fnr:  wf*  fraufk  PdTua<<^'qfa  « 
H,  P w§*  fraiOTfH  ManhwifH 

W omits  fet:  OR  f%T  HgmfH 
vrafrawffT  SU  fet  rwroraRit- 
asuffi- 


Mss. 


65j 


[iL  47 


fgrtlu  srafsraiTnRH 

rrsrr  i 

riT«Mrtli  WWTO  ft  « 

^ fttir  ar  i 

wnsi  ft^rariH  ftrarftan  vift  *iair^3T  ai 
H ft  ftftaft  1 f|ft  II  Sf,  II 

fciTaq4Ui  i^ftaflftaTOTft‘1 

woimvjkI  ^TurnrgH  Hi<j«fd* 

HaTT  I 

^ar  ^ *?a^5y55T!raft^aT  i 

ftfl^  ft  -f^l(^^a^*^^!i^U(g^J<, 

^ naiTO^  anijftiftpiftw  ^ ii  8s  ii 


46‘  C omits  Tign.  — Mss.  Hi^lQT-  — C 
®?ra3f33TTff,  p “HfjfiJIdUjii  WNOR 
»«af«iduu,  S °#d%3Tin,  TU  -fti- 
f^grqj-  — ST  fe,  N 

46*’N  »?TT,  T “TO.  — P “WF^.  — C 
1v^.  — Mss.  “?mii.  — OR  g,  T a. 

46' PO  »3w.  — CWNOR  fwafer,  P 
fiuafiijgT,  SU  fiirqfiaff.  — N ar^, 
STU  lira?.  — CPW  N 

> OR  ftraT° , STU  fkar- 

46*1  c N “3^.  — CPWNOR 

dwfTj'dt.  — CPO  Bef  W afg- 
fe.  N a^,  STU  a^. 

461 Q ^ unfits  I 5#,  W 
N TO,  S TO  qa^  I — CNSTU 
omit  fa.  — C aroi^jfTO,  U “xn- 
wat. 


46^  C qjTOTia,  WOR  ar^  argafa- 

47*  CWNOR  faatjxiTT.  — CN  xfma'*, 
PWORSU  Tfiira".  — P °H<iifTgti][, 
NSTU  “^arinfaxuT. 

47'’  CWNOR  PSTU  fej.  — RS 

TU  finT”.  — CWOR  P 

STU  N “^ffTOgfar.  — S 

«7ri^y,  U ^ftas^ra. 

VJ  o 

47' ST  awaro  sr.  — C sfaroror^, 

o 

W ®axr,  N SU  ?aasT%  T 

aa*”. 

47-iCPNOSU  fea,  W feg,  R T 
fea.  — C anianar,  NOR  naftmi, 
STU  aarairan-  — C “ftTfirofarsa, 

P xai$,  STU  ^XITT. 


5 


[66 


ii-  47] 

I 51  laaj  xo  fts;^  ^^<<5<nil  jnTBllM 

<IOII  I W rni  UTOTftt’  I 
v3 

I Hwrfi?  ^ ^ forf^' I 

I ^ ^ I »TO  I 

fy^Qib:  I 

ft  afraararo  flid  I 

aifg^gai  t ft<i»«4,  rig  ft  I riHs«!!U  55^  II  8t  II 
glSTT  I ^fti^  g arfgnn^'  I ft)  ^3^  fti  ft  >TOTft’  I 
«)WN  grfti  iffeii  ^<<<4ftMiaTt  I 

g^sft^nnShg  ftnragiiainsaing^  ii  J{«  ii 


AT  W TOT.  — C OT  a H ani,  P a 
?ir  FTJ2  OT,  OR  h»t  a ur  #na.  — 
CPWNO  R ^.  - p xt^, 
NOR  U «ifc«  Jtrfti-  — 

P N — COR  wnnfe 
5fgi  fsB  armff,  P ?jto  srnirT%  fis 
WTOff,  W 5P0  emu  fik  vintV)  N 
'Nt  Uiimu  8U  arorftr 

fti  (ftIWlU  (8  T 5fH 

^mnfW  q^Tmii. 

AT  CWNOR  omit  Hi,  P SI.  — CW 
N gsT,  OR  gsi,  T gw  ur,  TJ 
gw  Iff.  — CWNOR  gniff. 

47®  U wungr*  — WNU  grfg,  R 03.  — 
C «ujfH>  STU  wtw^. 

47*ORT  5fW  — C dwrem,  W 
•wrft,  8U  gHeiieiwO. 

47®  8T  R wiff,  U HT  wff.  — CP  3ig- 
ajTin,  W dwf^at°,  N 
8TU  3ig%«T  mhg- 


48*8  omits  fOTxrat:.  — R T8  ira,  T 

Ck 

oH!  sifii.  — N wTfniffi  T ikifwinlu. 
— CPWU  •wwff,  ORST  wwwsmn. 
48*’ w ‘OTT,  su  «OTt,  T — 8 
gg|.  — CPR  fwsT9T>  WN  fiffQBT» 
0 %STW7.  — T omits  g;  8TJ  w> 
— CPW  HTWW  R?ff. 

48*  C Mifagl,  PNORT  gfiffgt,  8 gfii- 
*it.  — P omits  — CPW8T 
wftr. 

48*  CPW  giff,  8ftigfiBfw,  Tgxjw 
fe  fe.  — N omits  fa.  — COR 
wmrfw. 

49*  8 iTifn  TO^sT,  T vrfw  dw,  P wfi» 
5W.  — N gitjgwui,  8U 
— C oroa,  W N wwii,  0 
OWW,  R wmit  8TU  see  abore.  — 

w seigunfaTiij,  8TU  mgr. 

49**  C arfrjfwa*,  P , W mw- 

fwasifffg,  N giuls^wrauiluii  0 gr* 


67] 


fgHlu 


[ii.  60 

I I ^ Tf?TIW 

sfroftr’i 

I g^H’sn  >?r^^TO‘i 
3t^Hud  •««(!»  ^<ii  aiiTiu^ 

fitwra  ^ ar  TOgq  Tnfi!!<Li\HHMwfg  i 

>9 

W pisie Kilfa-gf 

nTwtai(<iiN<^i<in  rmi<!!ir<^n4j^imoii 

rran  | 


355rfijH?«HnTR,  R 3TT  OTI 

u 

STU  srnfHiT*' 
— w — C ftrreir,  W \k1h, 
8 ftrsrer.  — C N wwHjjir, 

R w»RiRr.  — S ‘fero- 

49^  TJ  omits.  — C fti^*  afts,  8 omits 
ftra*.  — w ffn^,  R T 

Ck 

nwr>  — C omits  fg.  — OR  *- 
irorrSar,  8 tbw,  T 'rcnTra-  — 
OR  ftnrofk. 

49*  U omits.  _ C grift.  — CW0R8 
rr,  P r^*,  T da*.  — Instead  of 
49'-*  N has  only  bto  OTinfft. 

49^0  anr  ai^.  — C »aggrr,  P *»3n, 
OR  grfT,  8 arcTsi  T aij 
XJ  aa|||.  — 8 omits  iftg;  T ia, 
XI  — N t«TO- 

50*  C Wliamfc , 0 "fa-  — N *TTO.  — 
STU  aatftfff.  — OR  jRTrft. 


50‘’W  M'virft.  — OR  fri»aaiA.  — P 
W afa,  N gr-  — P 
W aifftn,  SU  araa-  — P wrfa- 
tift*,  R afiiiui?*. 

50*  N -asTWa'.  — O 'atft,  8 *a!ft. 
— WORSTU  ’crrenir.  — STU 
•faa. 

50**  Mss.  sn^.  — c P 'wX, 

SU  M?nT«ra*,  T afaraa*.  — P 

XJ  aaft-  — cpwnstu  a^p. 

— NSU  •niriir,  OE  "anwr. 

50*  C arena,  P omits  aren;  N aran  *ft 
a»TO.  — C afiufadi  asgir.  — SU 

50*CWOR  aw,  N airratrat-  — CN 
SU  wftsdi,  P wfa^  T ft  afa- 
at;  SU  add  a.  — CP  aaWa,  W 
NOR  aafta-  — PW  add  fa,  SU 
add  HT  a>a  fesT,  T adds  m. 

5* 


[68 


ii.  50] 

«sw55.a  I nftr?j  i i 

ftld^djl  1 <4q  «n0'iic'^  I 

Tfn  uftawi  fWraTRn:  h5®  i 

fgfily  5<af^*iiiTUJH^  I 


50^  C gTOT»  5jfk.  — T aTOnftTOrrfw.  50®  C rdT^quii  wrs  i sfi  5^,  SU  5«|[. 

Gk 

50^  N E fesira,  S — CP  WO  gite,  R 

50®  T omits  ufVniM^- 


T ua1qa>THl.  U uaft^rarrat.  — WU 
T Tifft.  — N adds 


50^  PWSTI7  ad«fWH<- 


fTfTJ  tran 

• A 

TT3fT  I I 

^ r<iiTil4  T|  ♦*)<»(  «jj  <«f!r531I  ««Tj|  5fe^3fl 

aft#tWR.f^  ^i^T5  nroTsi  «sr  tbto  »rai!!  m i 

fwwr  ^ 

W^lfl  ft  iww  fti  SRTO  II  «l  II 

sift  aj'i 

WTSmftPJWT  ?wf|  f TTKI 

«*H<*«ir«!4ariTn  w^lHiftsi  1 1 

II  ^ II 


Ig^niftsnilB  tftsi 

^IWIfftftjT  JinTO  H ^ 


l»PWNOR  S f*g^,  T fgi5^ 

TWW,  TJ  f*3^-  — PW 

N OR  ^fk^RT,  S 

T Tfgr^,  U 

1**?  ST5^hi5ITST,  N OR 

STU  w-  — W JKUtuI  tl  giT. 

— 0 alfcdUl-  N isR. 


T ggj^TTO,  U — P gswwa- 

rf^,  WR  »f^,  N °w4;ife  OU 

•s  ^ 

T — N grROT,  S gtsgr^, 

TU  ejnfbr- 

2*  POR  "wfni^qii,  WN  T — 
NSU  “51^.  — SU  g. 

2*>STU  vrergo.  — R "grafgam;,  S »gi- 


1*N 


argraTgrjg ^ XJ  P <u^* 


«iiy,  W (ui^wifddii'guiAigiM,  N 
angtnreg”,  OR  gi^ggg° , SU  gn- 

o o o 


orf<igfgiTgi°, 


— W fkw- 

1<*  PORT  ®fi|,  W utgiiife  N Trearrfig.  — 


a^jaTHi-  — T 44Hdl.  — P “Htferag, 
N T ®wfgg. 

2*  SU  ?aTO".  — N “ggHfo.  — PWNOR 
ogfe?.  — PW  NSU  rihr,  T 
rfhlT. 

2d  PWN  g^. 


iii-  2]  [70 

I fNi  gw  wwnfw^  fw3ir  f^s  ft  ft 

^wsnwt  ftjft'i 

rrsTT  I W3JW  ftft’sai  ai^wwft’  i 

in^%ftaiwafn3JtM 


nsn  I 


WTO  Wl^fTOTax  ftftrjni  w 

TOft  WTftwTTOT  fTOwft  wftajT  I 
WT  wtTO  w>i  ft  sj  ft  vfen 

H ftgw!  nai  w fftan  wiwt  ^ ^ ftRj  aj  w ii  9 ii 

fii3ra:  1 aron'  I >Ttg  ^ ^TW’  < "*™^‘  • Wt  WaTW  arTOt  WW 

ft  ftftnjai  ft|‘  I 

rrar  1 ^uruivuM  ‘ I WT  w ftftrsjaT'i 


2‘  P ftnrazTO-  — STU  st35»  — P 

H,  W ?rg,  N ?m  fq,  OR  ?w-  — 

O O S5 

N «55Trq  f^,  SU  T w- 

PO  add  q?,  W fq^,  R q?. 
— P q,  WOR  55-  — POR 
fq  once  only,  S fiiR  fq  once  only, 
TU  omit.  — PN  qrsWfWSffTt,  STU 

Vd  O 

2®  N Wt  qjTO  omits  fyfqujat — qqi«^i- 
qnrrr  3®.  — W fqq  ^fqiijq,  R fe- 
fqftirat,  STU  fefqmq.  — P mqr- 
Hwnn^^,  W STU  m- 

o o 

qrftr  anir- 

V*  o 

2*  W inserts  H before  fTT,  S 

omits  ar.  — P qrfqq,  R qrq,  STU 

v> 

qi%3. 

3*  W — NT  -Haar  • — PW  j 

NOR  ‘ira-  I 


3»  NU  Sf^.  — PORT  fTfefe,  N u- 
fe^-  — Mss.  frrfef®.  — N gtro- 

-o 

— Mss.  «f6di. 

3^  P oFt^nUi  N qrqqj , O ^r^qj,  R.  q^^qj, 
T w§.  — PNOR  yfterr,  W 

qf%3T.  — PWNOR  — OR 
qft^q^,  N ctfi^ra^. 

3**  W iT^.  — P qqr  WOR  qq.  — 
P fkq,  W NSTU  a?q.  — P 
WNOR  qi^  w.  — W fe  q,  0 qwt. 
3'*  STU  — ORSTU  qqq. 

U 

3^  T omits  q^T^.  — WSU  omit  fq.  — 
P fqqqqf,  W qfqqiq,  N fqfqfqjitt, 
OR  ftrfanj. 

3'^  P qqfqiqq  W qqqtrn,  STU 

«irUIH. 

1 3®  PWNOR  chfiBa^q,  SU  qifeqra,  T 
I WifuSTaf^.  — ORSU  qjfftq,  T fw- 


71J 


[iiL  3 


%!*:  I ajisf  -STTO  fi?’  I 

Iran  I ?T^’  I 


fij3xran  I f|  t 


HtW’l 

trai  I irft  Tiff  I 

%"*;  1 71^  TOWTOarafftftran  iftft  ft?"  i 

TT3rr  I arafei  aT^ai"  i Tifr"  i 
I w^  Hanrf^ 

^ TilWilt"  I »TO  ani  nw  na7f|tt 

I 


trai  I fl^'*  ( 


for.  — N omits  fi.  — W Mf6UU(ji 
NB,  ST  omit. 

3^  STU  omit  grro.  — W R 

adds  g.  — P “gfrFtfft,  WOR  »h- 
fi*n-d,  NSTU  “Hfeir.  — STU 

TI^. 

3’’  NOR  omit;  PWS  omit  r?«jt. 
3®PWNORS  omit  fg^ugi:.  — STU 

e\ 

omit  ?TT.  — P sft%  N 
aft.  — P N 

omits  IT^TC;  0 

S “Tjaum,  TU  “^fNnasnrm-  — w 

rftw  qaviiTfadt  %,  s »ftraft  ftr 

corrected  to  ftg.  — STU  omit 
3'®  P omits  TlaJT.  — R ?T^  once  only. 
3“  P HTeT.  — "W  »a<fy<ui.  — P grf?- 
WNOR  oifVo9>  SU  T 

5ISW. 


3^^  NR  once  only,  S 31^^  once 

only,  U o^Ht 

3‘*  N once  only,  ORSU  omit. 

3**  P W «irg,  N wwa- 

fe,  OR  S omits;  U wna?.  — 
W ireal,  S ggmi.  — P 

O 

W Hddfisnjdltjjtiiu- 
N ^‘wraftiMiia  0 

ir^,  SU  Hdqfis°,  T r« 

IT^.  — ORT  omit 

3'®  NSTU  fe.  — NOR  omit  fro.  — P 
5^,  W N OR 

fnn®wf|^,  SU  T — 

N sT^rfe,  T UTaiPw.  — STU  add 

f^. 

3^®  RS  R^  once  only. 


iii-  3]  [72 


I wf|  # 1 3ri  ^ 


(mB  ^ <««wumin!i  Hfer  ^ ^if^“  i 

nsn  I fjft”  I 


(cidti4i*  I 

C\ 

wart  ^flr^  ftart  TTO^f^ftRrrortainnt 

'ftra^wi§35i^  ti^  xspwtfwin!!  ii  8 ii 
^#ar?  afraid  WTO  »T$fti'  i 

rm,  I irft  ilft’  I 


3^’  OR  ^ rlfl,  STU  omit  rrfl-  — N 
f^r^rfg^fil,  SU  T >jht<>.  — 

P oTcfe.  — P tl^,  WSU  U3T^,  T 
tra^. 

3^®T  sri  ST-  — Mss.  isnuTSR'.  — 0 
f^«  P WT1 IHX4I4I  j W 
«TTI«rTi«lTWV4lrif^,  N wiiTHDIWysnfl. 

O Vd 

— Instead  of  biHlfi^Hl  W fjt,  N 
♦IMC j TU 

P W ^rmq»fej,  N 

o o o 

T5irfe%T,  OR  FWc^jT,  S Firfeaft, 
T fiuuif^eO,  U <juir<g(i1.  — PWOR 
add  oiHfotdfiS  (P  'f^)  ¥W.  — P 
oifrirvi  u1^>  N srfe®  liTcs),  T omits 
q?^.  — PWOR  omit  Its.  — N 
fmir  fc,  STU  fmir  g sri-  — T 
dMMiuuuuu,  WOR  °ammfi,  N ®- 
HTB',  T 31gTTre°-  — P ^Tmiish, 
WOR  N S ‘MH,  T 

— OR  ^ST.  — P gfe^, 
SU  T 

3^®  R once  only. 


4^  Mss.  fT^-  — WNOR  — P 

HffjyfsTt,  WNT  f^,  OR  fe^.  — 
P qu'lslf«4(f  fTgqcliviO<jO,  WOR 
fsrtddyUSTWT,  N °fgafj^j}iHg<3dsTTin, 
S “rddfs^etumisnff,  TU  -fg^fegRT- 
(T  °a»)^3ifasrt- 

4^  PS  hctzh,  T U ?rar?i^.  — 

S5  5 O O O O 

P °w*y  w juivi  I W fiu^3^° » OR  fiu- 
S finf?rawi5W“,  T ftr^- 
U ftnr?T5W^SW%  — OR 

aiwfrl^. 

VO 

4^  P inserts  tmt  I I feaTO: 

Cv 

before  Hat-  — STU  mt?T!i  n- 

VO 

wra  sTHTTi  wht^hh^  (T  wHTqr) 
OTarfiT  (U  qinrfa).  — OR  omit 
H^-  — PWNOR  — PW  sTrrra, 
N omits.  — OR  omit  fTTO-  — 
PW  omit  Hrthn-  — P na  omits 
nw;  OR  “irar.  — P lit^o  uf^iua, 
W HHTVRH°,  N wtHl^H”-  — p JWBTftr, 
N wnrfiT. 

4®  RU  once  only. 


73] 


fjrilu 


[iii.  5 

I iroJt 

wf^art  3T’  I aj?  i^gr<B  H5gfj<l‘  i 

ar  Ti^  «f|T0T  g^<ag5ig  ^ar'i 

Trar  I a^ft  ftrftraarw*  i i 

fafoa:  I fi^  TO  anfipT  TOflaj  i to 

■^aror  TOTTOT’  I 

vO 

nai  I I 

fe?TO:  I 

TO  ^ nanro^URTO  TO*3TO  <TOir«U*!i  I 

li*M^  TOH  W Hf?an  Cir^TOTO^I  II  M II 

Q vD  \D 


4*  N omits  fe|Tjg;:.  — PSU  omit 

N ar-  — OR  “gfra  ar.  — PW 
N ^w^rf^HT.  — OR  omit 
— P omits  fnaft;  W 

O 

fn3,  P ?T^,  N ¥T%W.  — P Tjjt- 

o o 

fiSdra,  N njirfirsTad,  0 aifidi,  R 
^rferaft,  S dif^HUiiad,  T mfen- 
aft,  U rTTferTTaft^.  — WOR  omit  ai> 
4*  STU  rT^r  arg-  — P ^ain?rfg» , W 
N Tidsfg°,  OR  SU 

T — PWOR 

“HTtlgdTtllj,  N ’•wtHrgddUli,  T «TR- 
HTui,  U -iTiTtigdUji.  — PWNOR 
n^t  feft,  S n,^fgad,  T ^5rjjfag"i 
fe^r.  — U adds  ar. 

4®  PS  SR^^,  W N giW^,  TTJ  see 

below.  — W T Hert  instead  of 
ar;  U omits.  — P 5^,  STU  m- 
^atOiiHtJijj  — P «cnna°-  — 
W N S 3T5OT,  T ^fijar- 

— 0 adds  arg,  TU  add  grhft  ftg 


4^  R once  only. 

4®  W omits  in  the  text.  — OR  hUI  aT> 
TU  tm  amiftaT.  — P Sirfgg,  N 
gwa^TT,  OR  g>ja^R¥fg,  SU  Sar- 
ferfg,  T gatg<Rlfg.  — P feurfa- 
3T  d,  N gf^arr  d,  OR  gajTfean^, 
STU  fcj^iSifcjaiT  m.  — P 
OR  mfean^  (0  »^). 

4®  W omits  in  the  text.  — PN  mrrfk. 
STU  JTg  fe  rrfg  ddfa  (U  »5n¥). 
— Mss.  S adds  ar-  — TU 

wlydaron-  — P ^rarTT,  OR  hwt 

4^°W  omits;  R fT^  once  only. 

5*  ORT  SU  omit  fg“.  — PW 

fnrr  ^ rnrrrfej  O nuiaTr  R cru  ar. 
STU  ^ ra.  — PNU  jft^o.  — TU 
'tK5r°.  — WNT  (W  *#), 

SU  — P WNORU 

”3T^.  NU  5^°,  T tjjidHj.  — WNT 
“ftrero,  ORU  'irre^qr.  S °mfadTg 

5*’  PW  5?!°.  — N OR  Jife- 


[74 


iii.  5J 


nai  I I 

fa^5|Cft  • I ci  ^PCfijSSTO  ^>§3il  M»ai<!J|(V 

w ■ftrircnstrs^w  ^o^it  iirro*  i nfi  w f¥is- 

fw  I 

''3 


^ I iT^  K^‘  I 
ft|TO  I rf^  ar'  I 


w ^ <351  Pti  ian  ^iwEPraftn  ii  I, 

arfw  afi'i 


i<s^  I 


giW.  — W NR  3r?IT,  T 
— N omits  SU  gjT,  T m.  — 
PWNORST  #ferr.  — S ^tf^- 
Wff“. 

5*  S omits;  R once  only. 

5*  S omits  fsr^°.  — ORU  omit  — 
PNO  omit  fj.  — P STU 

— P 5FOT,  N 5T3«,  T g;- 
ftar-  — POR  ^rnn:°,  N w°  »irm 
a%55Tt  puts  irtI  after  JUTW;  S IT- 
sft,  T TT^.  — STU  5ffr(T  ftrfWk°)- 
— O Jirsnrr-  — 

T afi^sra. 

o 

5^P  ^ fTfis  « W m,  N 

<ifti  ^ ^1 9 OR  fi4ji  fifi5  <j  I * 


WXR  faf^iufer,  STU  fe%3T  wt- 
(S  “w^),  N irg^- 

arw. 

5*  RU  once  only. 

5^P  ST  omit  8T. 

6*W  H|JD-  — P 

6'*U  tw-  — N 3^w3T,  SU  T 

P S ^(S^f-rt. 

7*P  WOR  S vafe- 

ST»,  T \iaf^3Tiiragfhrgr,  U >jaf^- 
wms"'  — 0 »jT5at.  R 

7'>W  arejnrnjtiTTra",  N »m«iwrd''-  — 
P “jha^ftranir,  WNOR 


srnff. 


75] 


[iii.  8 


^rejT 


7»r<u<«<gFfi!r^^i  Tfif^  5 II  ® II 

I fsiifWfgTSFi  fafxjnii'  I 

'ftrf^’srarftTO  tsj  if  Mnuy*iw*ii^ii  wsrfti  i 


w 'N  ■fisRmj  5?  arf?unafr  11  b n 

I aifcuift^f^ajaiT  w- 

ij!5i  ar  «i4|jfi1  TiwRTOt^irf?  asrarinai  1 

arfti  ai  -sRiiw  M'Aifw  w ^ ^ wraf  1 

om  I MUiijijl’l 

I Ht  ^'4in<  msaruT^  to  f^i  ^ ^n^riraft 


7'P  fiir^qfa°  fiirwTVir,  T 

T'^N  •fgiUlbmHfi«%  STU  — 

PWNKST  ifffert,  0 

7' 8 IMr9T>  T IT  HitfWi 

fevra.  — PNOE  add  g. 

8*W  ^fenr-  — P ■’ftnnTTH^,  WOE 
°ii<nwqrd>  N 'fisrtw  STTJ  »fii- 
jj.  — PWTTOE  H fkj 
w (W  N 

' o o 

m)-  — E TmjTHwram. 

S'*  P N — P omits 

fe;  OE  ST-  — P snrrir,  N finFOT- 
TOT-  — S ^1  TU  3.  — WST  sTfir”. 
— W adds  nfenn  l!T  wtfe  €- 

fa^  srfe|  Jirw^ftw  st- 

TIRT3  qfewfiUtHjTn  fTOr  9 fifldTCtU 

o o 

StSt^^T^-  XTT3THT- 


8^  OE  »nr^,  STU  irar^  fgsr  (T  lyragft)- 
— 0 — W n, 

OESU  SU  "faftHgt,  T f^- 

f^rfiTiEt;  STU  add  fgar-  — P aw- 
Tirt.  — N arfa^%  OE  srfenr^sr. 
s STfeilI3T%  u s<raigld°;  STU  add 
fear-  — P aiHcigT.  — POE  omit  an; 
STU  fear-  — P *4<nwf.  — WNO 
ETU  P muligtifidtjnB,  S 

T “jftearwf^,  u «T^- 
♦Mid^tirig.  — WT  aTTfuir,  N sTrmff 
3T,  OE  aromim,  SU  atuiuii.  — W 
fasot-s,  N ret€«arfe»  SU  fgilfl- 
tfe- 

8^  W a®Tftr  gtra,  PNSTU  ur^fa-  — 
W omits  3nr;  S thit-  — PWOES 
TO.  — PWNOE  q^aft,  8 oi- 

1 8*  U omits.  — PS  qTTO,  T umiql. 


[76 


iii.  8j  SRUTUaSraflT 

fiiainTfr  ftaj  i 'Ni  firoT  ■<?- 

■frf^smnsrginT  i 

I HT  ^ >lT!t‘  I 

^ wN 

Ijfel  Wr^  TB  W ^ I 

wf?  ft 

?T  f?f53T5  ft§*M^4(^i§  ^ II  C II 
fcfra:  I >Tt  fti  w ^ w w ft  msrfti'  I 
irai  I aiTOt^rftft^  Jiaursarawiau!  w 

an”Tfi!3  w ft  wftr’  i 


8^  U omits  wt  . — P N 

nt,  S a«lo7U3Tics  fe,  T ffoiTst  w- 

art,  P — PW  — PW 

T omit  fg.  — P tIh,  W omits 

f«  IIP,  NOR  T ^ qrm.  — 

O 

N ft.  — P fre^rafticre^ 
fermfft  Hfttin  3#  ^nir,  w «ft- 
^rfraT-,  NORSTU  “ftar",  S 
— S xi?3iT^,  T rciTsirDt  U Hj^rii. 
— PW  xraftft,  N sra^rtararfe,  OR 
Twtarft,  TJ  fa^riftfe. 

8®P  ri^,  W arfi,  N fT^  ft  ^amnn'. 
— NTQ  °ijjjnuin. 

8*  ORSTU  pft.  — T adds  ^ ftar 
ft^  ^^anr  «fw  ft  uwm^ft  arft- 
tuoTl  55EI  <3tici  ?IT  ^ eiiirtyj 

««  H3TrTur  qiift  afftr^  wft  W- 

O N.? 

9»  8TU  UTO.  _ P WOR  ;fftsft. 

— T ftiihi?. 

9^  TU  p^ar-  — W ^rO.  — NSTU  ekt- 


5tpr°-  — OR  'fift,  STU  ‘Sf*j.  — 
PWNOR  T «ii. 

9'  P omits  NOR  STU  gtir.  — 
P arftftF55fft,  WOR  ^^ftTOlfa,  N 
— SU  ft. 

9<*P  a 355TP.  — T ftwip 

9'  STU  omit  ait.  — W gpr  fti,  PN 
pan,  OR  SU  omit.  — S 

— PTU  5®  once  only , N ftw 
u5ft,  S lilft  ftrf  ft,  T ftnft.  — 
PW  wnft,  N aroft,  0 aroift,  8 
aaftiasre,  T aaanft. 

9^*  N omits  ?T5n.  — PWOR  “ftft^, 
NT  ««?•,  S U oftpraror-  — 

Mss.  ft^.  — P “arraraft,  N arw- 
T>sr3TOTOaii , OR  'htoto-  — P wir- 
qm><Ed<*,^,  W Tniiznre3ftiraJT3?»  N 
ftakdTmuaTnfs,  OR  u*<^  anrniTs^, 
SU  ire^  upraftfs  (U  »ft),  T xres- 
ouiiiHnfa.  — PW  fti.  N ftji,  ST 


77J 


[iii.  11 


%>«:  I ^*1 

ilal  I 

arfw  fjra)UHVS<!!li«hcrJ|;«*) 

»T»!jf*n  vrrft  i 

TTISISIW 

■fW^‘ll'fli4)H<!ri^'=l(<<S!+<l<l  II  *10  II 
I ^ ■fiW  # ^T«|#3Tf^'  I 

<1311  I 

vD 

crnn  ^ ii  'I'l  ii 


— WNT  fn.  — P w^fk,  S 


PST  WN  U “a- 


jnfffn.  T omits  M*. 

9»  ST  U 

10»PNOSTU  '^TSwfe*.  — U ‘w#. 

lO**  N jpHftw  5TO,  OE  MHnuarfw,  STU 
*1’. 

10' w T%fTOT,  N OR  5^- 

MW,  STU  — p 

NR  «arei<i,  SU  °<jnu4jjii<,  T oht- 
9^UU|<JI<. 

lO'^NR  0 ojiTifhra", 

SU  T ®gfg<3Tiun<^''. 

— P N “guj<ji<l^,  TU 

10'  ORSTU  ^.  — W fe  g ^ 51^- 

ufk. 


— PU 

11**  NR  “^ar,  S oqWWar*,  T 

U — Mss.  “wauur.  — W 

ni^itn,  NT  u<u<<u,  U u<ui<4u. 

11' P d^Hdu^^Fd^HwujmtiiO,  W ^rra- 
u^T{faa^^u^^^^Rt,  N a<L3win^fci- 

U40l<t,  R d<^ri««4f<a^W«l  omits 
what  follows  {IS  far  as  ^ 77 


inclusive,  see  12**;  T d^Fd  cffJrg- 


FdFd<H<j<uyyr<i, 


57WHRT. 

U‘*P  ^ fii  7T,  W fa  H,  NS 


fear,  0 fear,  TU  fear- 


— PW  N nri^,  0 Fdd^da 
corrected  to  °WTaft>  S TU 

"Mart-  — S adds  I gar  3W 


U‘N  OT^»,  OR  ^ar,  T HiTF*-  — 


anuM  I 7T  I 5aror  fear. 


I 


iii.  12]  [78 

I 

anfff  ^ 

^ >TOJJ  TOT<LW<l4<!]ii  w W I 
ftr  tRftlf.5TOt  ^afrfwj 
if  wrfin^  Jiar^’^sn#  ii  ii 

f^'g'i  an^fwi^  ^wf  ai^ijai  -auMKr^  in  f^i  ^5^ 
nWWy<r«i4<4<!!Hi’'l 
Irani  wwnw^’l 

^rgni^ftig  n<p!<ugi4<f^  I 

if  aHM^On  3g  fNi  fa  r<ut*|pj«!n*!j 
^ ^?Pn  f^aiiwra^ait  ii  a?  n 
srN  ai'i 

fNi  nangjftrf^  fti5  ^n^i^hj 

■fifi  ■Nf  ^|*i<ii  I 


12*NSU  »T^,  T STH.  — P finfe^wrar*, 

12**  N # winr.  — W *ftr®>  N '’4%<;4w* 
W.  — NT  TOT. 

12*  T U HWtot*  — STTJ  fe. 

— T TO$iff  gnnt  srarfor- 
12'*  N afaiTTt,  STU  — P OT- 

T noTR.  — P *4iiTiiauiH,  WNU 

Mufiud”. 

12’  P nfe,  WT  arfe.  — W ?nra,  T fe- 
n^TSt,  U »Twi.  — TU  TOT.  — 
STU  duildf.  — T Hfft,  U omits. 
— P wggrafa,  WN  fasrufa,  OR 
TU  omit. 


12’ T omits  qaroi.  — PWOR  to,  N 
zi,  T iia  zi. 

13*  W •^TOiratfii,  8 
13*>  N ^fiTOT,  S frfinTT9,  TU  ^fiwwyi. 
— PWN 

13*  T H M4fmwfw  TB-  — ST  fti.  — 
PN  fruvHvnnHrti  0 corrected 
to  TnHft. 

13^  T TO.  — N f^itfif.  — R «iw- 

snr. 

13' W omits;  S fv 

14*8  mrrnfcrfTOT,  TU  iiujiifafroi. 

14'’P  vn?m,  W ^TO,  N >j[TO,  T 

omits  fis.  — P HTTpsnn*  "W  «T|T4n> 


79J 


fiii  16 


fR^<M  Tg  -Ni  fa  aro 

3!lfW  II  «l8  II 

aiftai'i 

3n '^iRfftriT^ift  5no*Tf?T!ft  in 

^wrfwr  nno  in  fri^  ft  ftfti^wrt  i 
irro  ft^  IR^  ft 

niftiajiftin  ftuii'fm! ii  «m  ii 
iuftan’  I 

fti  ^anjjPl  rtwfi  ft«H!!*ii<!! 

ftft^l  ftigij^  I 
3TO  finftwftf  fti  ft  *TO 
^i05inr3  fprairf?  15  aiftwfti  II  II 
ftp*!  nft  I ft  5315  aft  ft  ^ ^i^  IT  gjUKH^i 


N iTijnnt,  8TTJ  innrait.  — P w- 
winn* 

14'  8 fHgHiiii  T f^TTO,  U fa'^Ti^.  — 
w ftf  U nfW'nlM-  — N8 

TU  fti. 

14**?  ^fwres,  W nTTOT,  N «ferc.  — P 
ORST  N U trai- 
ls* N — PT  — PN  OT, 

0 WT. 

15’’8^r^^ft,  TUnrf*f5Kfa(T 
fe).  — TJ  ‘^rrEt. 

15'  P smnr  NSTU  «^. 

— P 9ifti  fa  w^awfat.  — 
OR  «fa,  8 STB-  — W fa(T3<fa, 
N Bragtfa,  OR  faiafa*  — W ^ 
T fatt,  N wreft,  8 


15**  N °)T9infar^QBr< 

tt 

15'  PU  fa  W8  omit. 

16*  8T  ?TT^. 

le^'T  TOhr.  — N prrW%.  8 faguifa, 
TU  Tranrfi  (T  *fa).  — P8  faw- 
«T5fa,  N faf^gtfa,  T fa^Tiilifa. 

16*WOR  H (W  ht)  fa  fa  wafag  ^- 
CR5  ftufari.  — P « fa,  8T  fa.  — 
N j?faw,  T ?Tgfai. 

16*'  N8TU  w«in»BiT«ft,  OR  sr  afaun?.  — 
PWOR  fgarairs,  N •fa.  — P ot- 
ffa,  W T gfarfa. 

16'  U omits  fa^’.  — OR8TU  ms-  — 
N 8U 


iii.  16] 


[80 


Wint^Rnff  (Tfw  ft  fti  ft 

nsn  I 

^ 31  ■*rani3?ir  ■srarfwi 

^3  H<5*1  ^*l0«!l*ia- 

II  “I®  II 

^ ail' I 

fwftn^iplt%3Ti 

wiaraOCTi(jT  jffiaiff  iRig|t  i 
ftairsiiwnit  wtro 


16=*  PWNOE  — WOR  omit  fa;  ST 
fg.  — WT  omit  n.  — 8U  Oi%g, 
T jnifte  >ra.  — TJ  gi  anr.  — N 

o o 

<*Tn<lT<iij,  S ^wfCT^,  T 44I4^HW 
^WTftrTO,  U omits  WT^- 

HW.  — PW  ^ tuu^T^,  N am^ift- 
5^,  0 t^nr^rar^  corrected  to  war- 

o o 

^ar^,  R won^ai^,  S miftg^HTir 
wfiiiggiTnn,  T afn  jnntoirnff.  — P 
omits  fa;  W rtwnfar,  N a a fa, 
STU  a ftr.  — PST  amg<j,  N ar- 
a,  0 a^jOiHuiui , R awaw- 
— PNS  omit  f%  fa;  RTU  f®  fg. 
— TU  a^riraj.  — P agfij,  W 
NTJ  5i5fe,  0 R as6\fd, 
S T arrifnir- 

17*0  STU  5iTi^.  — W 5Rrfrw,  0 

sraroftw. 


17'’  P ^ 5igfHu<6aaj<iU!j%  S t^aj  a?ar% 
TU  “ftisretsr-. 

17'  PN  atfe,  T — SU  o^,  T 
o^.  — N ‘“lia,  OR  “ihiT  anr. 

17*^  P oi^rfraini,  N wiprfen,  S a arft- 
3OT,  TU  a STfrsoi.  — T aar^. 
— U gait-  — NORU  ^^aft,  8 
srafat,  T gfgwt. 

vj  O 

17'  P omits;  W ^ sT,  OR  srfa  ar,  U 
STOI  aT- 

18*  P aufiuaHUciid  agnraaaraf , W a* 
faar°,  N ifiiTaraaar*Wluj4<i«iTO°,  0 
aaftir,  R 'iudinigH*!. 

o 

18'’ P '’WT^.  — PWOR  ntfrarr,  SU  tjt- 
frarr,  T ^ar-  — P ■■aTaf- 

18' S »wniT*-  — 


WOR  -jta,  NT  •writ. 


81] 


aic4f^eni»mH 


[iii  19 


rTVT  3T‘I 

3T#  551cTO5^  ^3T»nT  itiKriKI 

^tCWfiSF^  rri«»r<r5«i(s4ari  ^ «»a  • 

^isian?!  ft!3T^  (T5ft!nTO»nr  f^i  ^ 3tw  ^ 

^ ftf^il  II  Sii  II 

*s ^ I 

HUiflU  I 

Ff?  3fiTOT  ■feftRt^aJTOl  wfe#  ■ftRI  ^ fti- 

^wnfH’i 


IS'*  PNOR  ararfe.  — N *9iiat  u^at  a- 
gat  OR  ar,  U 

Tiigar 

18*  PN  ar,  W ar^  ar,  ORSU  fns 
ar,  T arfe  a?. 

19*  PS  5naro*.  — SU  HmjnrefbflT,  T 
"trgfrw.  — PW  5Ttr;^.  — P qn- 
THTCy  ^Kfi  i<.  f N <fi Ki  f T 

Hm. 

19'^  W gro,  T gfrB.  — P 

N “g^rar,  T ffrafsaraftrat-  — P 
‘n^.  NO  °ir5^,  STU  <>1155.  — OR 
ar,  N omits.  — NO 

19^  STU  — W fT.  — S 

ar^rfs- 

19'*P  gg,  0 R T ^sg.  — 
N omits  grar.  — PWOR  warw- 

•^aTrT?3,  STU  garaTri? 

(S  ggaTrrt,  T gg^fn)  a (T  sg, 


U fa).  — P T U 

f[T^- 

19*  W guTg  I faT^THTSw^argreur 

o 

^qqfHgFg^iwl  wagr  jrwt- 

o a 

Waiil  fTT  dr'utiHyj  glFsitti  gtg  fTfIT 
efidfil  ait  wt  gftr^gggtimr  fdjui 

vj  O 

g^gr^>  see  iii.  22*fiF.;  N ggw  f%- 
riHWiMfgftiui  ^ggfa^^fq-Haiwi  an- 
wagl  g^HTiMui  aa^nraaro- 

guroi  fiugril  3^31^- 
192  PW  csuTwg^  a1%,  TU  anr.  — P 
«tn^.  — T fafaOaarw;  U adds 
gffigRTj.  — POSU  airfgftir,  W ht^h- 
ftn-  — Mss.  sg.  — N instead  of 


cf) iM  j T omits  cfH H • — P fWin?i  fwy Ij 
w gn^agr  1 » NSU  1 fati 
OR  fafawifa,  T Fhfawifa-  — P 

adds  eRtfaran  I fgT^gjTsw^TgTOTff 

vj 

aa  aiW?  cr- 

C 

araw  faFri^j  srra  aar 
95^  ^ at  jafi^u^HoUdiii<jj  ftr- 
sarsT  yeslcil  1 ■fefgax  ^aa  11 


iii.  20]  [82 

^3TWf«^  f^TS  in^^TPTftil^  I 

iT?T  ar  ■31^  3Rnmrw 

^ ITS  SlSli  ^ ^ II  ^0  II 

ftfra:  I fw-^arw*!!'  I JTfrsT  i ht 

C\ 

arw  yisintiitj!  ^iinfeaur 

iTI<iSf4Si«^*«  Trfe^  ftrf^s|53Pift 
Awifita^r^aing  ?isf%  usm^l  nfe^w 

aurfeii  ^fii43sirtfl  i wt  trt  fTrf^TSjsi  s 


20*PWNORT  fare  53,  S fa^  st-  — 
T fatjchdt^.  — PWOES  T 
'MT,  U ET. 

20’’ W ETTO”,  0 fenfiifwa  ar®#,  B 
feHfWfw3,  STU  afs^ouf^arnn  (S 
•^).  — P faififg,  WN  fairfif,  SU 
^»inr,  T gnjra.  — P ciMtiHirHHl,  w 
Hrafem”,  N Hi?ra<4r<UHi,  B HT^rarj- 
1w^,  S diHarir,  T dTgrj(ii°. 

20' P fTiT  f%,  SU  hht  eKifafiiimat,  T 
fTgT  3>wftuwi«J,  P ’‘fnilld.  — PN 
wH  Pd- 

20<*  POB  N — PN  ^rfe.  — 
0 §fejTg.  — OB  ar* 

20^PN  a wfei,  WOBTU  wfbiT,  S 
^arr-  — P eRJsr^l,  OB  eRJB5»»fl, 
S H 3nBT,  T t 3>%  U in7  SR*.  — 
P Tihrafip,  WNS  xjhw%  N 
fis.  0 °<i*j«ij4,  B °ir^i4ui* 

20*  S ?i.  — N aTEai  fe  fa*.  — PN  333Tsft% 
8 .dU4vfll°.  — PW  fafHiiril,  NOB 


ftrarT?,  U r=R<H*iril-  — SU  Will  I Th- 
w fear,  T wTurf3*3.  — P nr^- 
preHl,  W 'JRfiUI',  N *3ifOTcra:H- 
0 ‘SR^RT*,  B 4||«a^C»4U°,  S ”SR- 
feo,  T ‘■3ff%aT^w%»ir,  u »ff>3aT°. 

— W OB  fetiHl.  — W 

NOB  °grcRWrq^l,  T 

OO  o 

**ufT<an;  STU  add  fear 

— P ywrfeinTH^T3T,  W -wffWHB, 

N *Hif«ai*rirHaTnir,  O ®wrf%arwr- 
fHarrar,  B SU 

fnw,  T »444TH«lfHW,  TU 

add  fear-  — POBS  Rrfijfe,  N w- 
fsl^,  T fT%ffT,  U — P ^ 
WT^,  W tr^hT,  N tr^,  OB  rT- 

s T Titrff,  u PftcT?.  — 

STU  TITTER?  fear.  — P lifya^q- 
iiuiiui,  W irfs^ajra*,  N -aff^aq,  OR 
•*3ifian.  T iiTaajg^ciifVaT,  U omits. 

— PW  jiTsTaif^  I N rifliawd^ , 8 
gfs°,  U omits;  ST  add  fear*  — 


83] 


[iii.  20 


I m Tif?  I iraTB3TTRTaii'  i tr5[55 

<*U4^?<r*W  TTsaire^iTTTO  f<^^T  I I 

H>»nl\35|.j  «!n<HWm<^<.r  I ^5?5  55TTO  I ^- 

Tiftren?"  i 


fTHt  U fb aj fri  •iiftn*ii 

WlfUctiT  I FWTVa^  W<IH*T**  I armt  ■Ni  ^ 


■f^i  ^ gf«!J  *al 05 '**!«<!! 


PNOR  'VjfiJiiu,  W ‘^frnnrfg.  — 

HHIHl  (T  '^TfilHTr , U '55TT^- 
^srrftr^^')  h^tTT  (S  ht  tlani,  T 

s>  ' o ' s> 

F^rn). 


20‘  Sot.  — OETU  § ftr,  S h fw- 

— W omits  UTJ4H. 

20®  WNOR  omit  rn;  T 5rnf?-  — P 
afgffjj®.  0 zrfaOTTt,  R qfawwi. 


20®  W 3%.  STU  3rTfOT5ra.  — W 
“Tiira,  N “iifmiT,  T waTwanraraft, 
U “iTOTa^r. 


20^P'WOR  ti3T^,  N Tiarg^,  STJ  to- 
— P 5Ma<*^ifH,  N cfesfw, 
0 ^mnrgrfwT,  SU  grOTrasR3^“,  T 

o 

9iH<*4lcF“.  — W ']g*UHn,  NT 

^ o 

'^Kui,  OR  “ignT,  SU  OTOTn- 
m (U  — P ftr^jTiHl,  NT 


20®  W ?ljTT,  N 7J5R,  0 R 

S ^(xTsirir  T 3fgra^,  U 3%  ^r^n- 

^ o ^ \S  ^ O 

— T -POTTgl. 


20*  P N T 

o o 

ggis.  — PSU  -mtim,  T ^nmn. 

o 

20'®  w N 5l%3,  R aif3,  S 5reT3, 
TU  5T^.  — PTU  5TTWff-  — P 
NOR  anrara°,  N »^Ta,  STU 
wra. 

20"  PWOR  omit.  — N 
Tin,  S TU  f^“. 

20'*  P ifl^r^aiTra^m,  W ggfi|:avfemdHiT, 
0 ig^sgRTa^iizOT , R 
instead  of  N ^ qfeajfC 

20'®  R an  faajfa- 

20'*  P omits  arfeST.  — p HfllvaijT 
OTofTtw  ?a",  W ijmivatiwifaTiH,  OR 
OTia  OTTWEia- 

20'®  W aTT%,  S ar^,  U an^.  — PW 
NORST  TO.  — ORT  omit  OTHT> 
— W innfiiTftirfe , OR  “iunrfg-  — 
PN  arawr.  W araanft,  ORSU 
art^^,  T — WS 

6* 


iii.  20] 


[84 


I fisrarw  ^ssnjt  Tffsnjrro  ^nsrot 

n'4tivuH  ■'  I ft(3T  •qspfrft?'*  I 

” I ??53JT#  I 

»iifi)«hi  Harar)^ 

I ^ «*u^w%ir<  arajzT^  WT^I  ii^roi”  i 

W>r<j«*i  3f?ngftr55ffT^ 

Trar  I 'gw  »igW“  I 

wrro^^  in  fnangfi  mgaj  i 
H»g  gfmPM^n^niii  ^an!ii«y  nanSt  ii  ii 
arPt  ai'i 

firarr  grt  fis,  # 

TtmOstaj  m uraar  iff  aii  nnmti 


20'®  SU  omit  5fT.  — 0 W|T!I,  T f^- 
Tf®«ij.  — w (iil^(46<u  finnydg.  — 
STU  Hfwart-  — PN  warift,  OR 
“gaft,  S wwt,  T »w^. 

20'^  WNOSTU  nr«wTW.  — POR  gsai- 
nit  oTuft.  — WN  omit  ij.  — WOR 
N «raiwf5-  OR  w W- 

20'*  N trfg  nrOm,  OR  gfg  <*tfn5  be- 
fore WNSU  omit  g5;  T ng. 
— N T gggw.  — PSU 

oci;  "WT  omit  j OR»  8T*  — N 
StJ  gqqrftr. 

2QW— 23  N omits.  — P ggg  wt,  W wt- 
STU  gtfg.  — T gwfwgTwf.  — 
S ogrw. 


qrcarrggfgat  ^ etc.,  see  the 
following  verse.  — T 
— W gwT^,  0 gwraar-  — W 
g^groi,  STU  g^. 

21*  S •wroroi-  — T — NO  wisrt, 

SU 

21'’ N 0 ^.  — PWNOR  i- 
S — T oggw-  — 

P qgfcg,  WS  wfgg,  NOR  ®g^ 
T -gg,  U »gg. 

22'*  P l^nsTT,  NSU  oTOT,  OR  gnq-  — 
PWNOR  grfg,  STU  urg.  — P 
gftqrgg^,  N gfg^  gft^:  0 g- 
ftgrgf^^T.  and  adds  in  the  margin 
STU  "ggl. 


20**  N faj^fffiTiiigt  girrafg  «^mr-  — P 


22'’  T dgfiriar.  — N aRnro 


85] 


[iiL  22 


^ gi4  ft?  II  II 

I femfwftr^wr  #5WT  rnwt^  ^ 

I WT  I Hw  I ^ ^ 

^ ftrirf^j^  i i 

^IWRT  ^ I ^rasnm’  I Ht  I FT 

ftnw^  5Wrgl^  ^ xm555TRiT  I 

hS  f»lW>HT0  5TT3nfjrf'° 

TTaTT  I *Ul«!w«(f  JllW”  I 

C\ 


22' PWR  -wfij,  T ‘ctifj^rt!,  U ?iOT9‘- 
— PU  ?THhniiTi,  T 

VO 

22"*  P 3T^,  w N 3T^iw,  T 3T- 

— P oTfit,  WOR  ^fig.  — 
N tifVtUictvd-  — P ufcsgi ; OR 

22'  PWNOR  nsiTST’,  T •vir'.  — S »m- 

HTII  53)  U 63.  — p *jr««>i- 

ftra-.  — STU  ■>fBrm537I^.  — P 
WNOR  T W3tTT.  — PN  H- 

tTWTS^,  W wtfe,  SU  HW^fd. 
T 'gtfe.  — W SU 

“Srft. 

22^  WSTU  omit  ht;  OR  ht  — P 
OR  WN  siriHiii.  — PN  fe- 
f^,  w sfyaim',  SU  ulFalW , T 

f5Rr3i?«j. 

22'  S ^ once.  — W 3T3,  STU  3TS-  — 
P 3ft55T3^,  "W  OR 

3fi.^U<rH3ui,  STU  dn.^U«H3CI3ji- 


m- — p fui63T<rt,  WN  fuiMIuTl, 
OR  fsggrrfewt,  ST  fuj63if3an,  U 
fiirOTftrwt.  — N wdlui , R u^rfad, 
S o^aft,  T 0^631,  U 

22*’  * OR  omit.  — ST  omit  »fte;  U 

O 

— W •^ggrri,  SU  •’ggsTTO. 
— P 533,  WN  5^,  STU  omit. 
— P iresTJft,  N STU  nfti- 

U adds  5ra. 

22®  N omits  wt;  U wt  wt.  — P arOTTi 
fiufTrfd,  W aniKtrarf^,  N aman- 
Tlir  tir%3,  STU  aTMatTTtH  fera  frng3tl‘l 
(U  W3Ui).  — OR  TTgfe,  STU  3^. 

22®  P ftn^ww,  S •fwar,  T — 

PT  Hin“,  OR  — P 

NO  5^53,  R ^53,  STU  ‘WW  53. 
— OR  omit  ara;  ST  irf^QT^- 

22'®  N fHWiiwi  sTTCTtT:,  TU  H%  (T  h^) 
fn  (U  qfiaw  fHww). 

22"  STU  srrfqgrt  — PNOR  w- 


I 


iii.  23] 


[86 


W froai  fT3  %feiTTTOflH  II  ??  II 

WSBHMwfwHlu^  I 

3t  10W  ■firftww  wam  I 

ansr  555  arw^gui^  11  ?sJ  11 

snrra 

yoin?ic«j  I pOu-M-wt  >Tt5  ^'^wrCl’i 


^raraijr 


3T  nait  <jmjjf«i<aiuii  11  11 

v!> 

3tT^ 


23^  P »W,  WOESTU  »fe3°,  N 

sfer.  — Mss.  (P  ^).  — N 
i^RwcRTcn,  0 “si^TT,  E -a^.  — 
P f[s,  WNO  Mg.  — STU 
(T  U ’gtfk)  iftr 
23'*  OE  g,  T ^ adgrrar-  — PWOE 
iTf3.  N omits;  STU  — N 5- 

O SO 

WMT,  OE  SU  ^sirar,  T 

SSMMT. 

VO 

23'  P TJTMiT  FTO°,  T MTgMnrofM». 

VO 

24‘PO  fdJMgl,  W H3MW,  N 

E T i^fuiMw.  — PNS 

g;^»,  W 5R7ig“.  — P W 

'cRHWfM,  OE  °«JdW- 
24*>NOE  «tKMMftraft,  S ”Tra“.  — N ;3- 
aifg,  STU  m^.  — I*  ^ anrfcr- 
WI3T,  WO  iniiT  ftrfs^MT  vjg  (0  gar), 
O in  the  margin  Mr?  d^HJTMT,  E 


24^  P g»  03^7,  T ddlfd^iUttcfi:,  U omits 
g“.  — W Minra”,  U mm°.  — OE 
STU  — P WNSTU 

VO  VO 

■adT^il  afr. 

25*  PO  W N ‘sj^,  E »33T,  tr 
»gn.  — NOU  g.  — PWNETU 
¥■  0 but  in  the  margin  •f^. 
25'^  P S 5IT3T,  WNOETU  Mailgl,  S -iffT. 

— N afr^ar,  STU  '5. 

25'  P w^d^,  W «Taid1,  ST  — P 

SO  SO  SJ 

WOES  M^%  N M^», 
T sraara^  — W — OE 

so  so 

s «%gT^^TOTT5,  TU  »fM* 

ysKisnnMT^. 

o 

25^  POE  N ^ instead  of  ujp. 

— NOE  ‘’c(idl]|:Mt(i,  STU 
— OE  a.  — Mss.  n^.  — N 
MUW’. 

VO 

25'  N omits. 


M^^MTTW,  TU  MM  3TII«. 


87] 


graf^rgrpfwi 


[iii  27 


ftfra:  I Ht  crfW  I (H  *IT- 


5nrai 


rg«i«ii  y»oi  I 

?ifen5pfi»TOt53t%feTO^  3iHt<fl^l*iairr 

«^xA^-'=l<^'rt«ir«!!r<llaUi!l  <rn<^HKI  II  ^>9  II 

arfjt  ai'i 


26*  OR  place  26®  after  26’’.  — TU 
^ch^iUM^Sdi-  — N s^feirrayrii;^. 

^ a 

26’’  T 3T^5proqjs3.  — P M^nir°,  N gar- 
?H'>,  OR  w^nn',  STXJ  «?:%’>.  — OR 

26' N aTFtww’itiTtr.  — T »gr®WT3^- 
26*^  P T jirsmrfiw.  — P ^* 

W ur^iTOird. 

26^  U omits  fes”.  — W instead 

cv 

of  wt,  STU  omit.  — P chUMiut, 
O °gatu  gfiirw.  — P udwlnwidd^. 

o 

— Mss.  ‘’55fr3T°-  — W °wf. 
26’*P  HT,  STJ  omit  fH-  — p Hofe,  S 
P 

26^  OR 


27*  ORSTU  omit  — P adds  T15- 
f^.  — N aaniftl” , 0 -dTWfil'’  t R 
35gifTT%  s H^jrTTire*,  T a^'irtrni,', 
U ^35?rTTrre'.  — PN  '”gn%  R'  -gsT”, 
TU  — S =11%’.  — N 
— P feg?!’,  N 3?aTH°.  — NORT 

"sI-STauiil- 

27’’ OR  — U — P 

WOR  «^.  — N ORSU 

JrafT”,  T — P °Mi<sloiW. 

27' T — 0 °«ur<n%  R “W- 

\9  ^.9 

iin!!'-.  — NSTU  gnJOH”,  W siiH'’. 
27*^  P 5T<j^*tpe7i%  N TU 

Cv 

Sa^riWJP.  — P ftriaiSI^T,  WOR 

■O 

ts^T^a,  N T ’htt. 


iiL  28] 


[88 


nD 

^nsii  Jiiufmsn  ^raiTiii^^<;wai»tKii*«iRi  ii  ii 

''  s9  sO 

fad,«* : I 

^ II  II 

wrf^  I 

wi?R33Rntt  »nf%fipn^pnft  I 

«!H-<)H4^<h|<tM!4t  TOI’fr  II  ?0  II 

w§wwTtf  wfn  ‘I  ftafrefi  cHj  -<K<4«a4u  niKRm 

^fWi 

q>fcw55t<l  5T53IH’  I ^Tf^i  trsfn*  i 


28*  PS  — T “UT" .—  PO  “wafnii. 
— PST  "" 

28»>TU  fmn-  WN  — WN 

OR  MaTO”.  — R "jnrrnn,  S -iroit- 
tliddj  — P omits  T g^j.  — 

PO  cn,  WN  g,  T Eg. 

28*PSTU  fstJff.  — N ^^TotjTR,  STJ 

o 

auTdui,  T cRanxi.  — PWOR  fk^- 
wii°  > N fin^i'nii'’.  — S 
— P stuTfn,  W ^nim,  S ^inar. 
28<>pwnt  gn^.  — P orar  aT^re- 
*W4;WU[Hg>rO,  W N »>jt- 

TTgsnn,  O ^TH°,  STU  (S  n- 
MW°)  fe?m5lHipfiirwt3T^- 
29*  P W N 1^- 

O N.J 

W'gHfj),  o fimqg^rTHT,  R fisHS- 

. — TJ  gWBHT’. 


29*’  PN  fyr^giar° , WR  fin^arm*.  — N 
O iraar^,  R gars^,  T g- 

30*  P W gFftTfu4ar° , N 

HWirfgarwT^,  S — W 

wmifuirtu”,  U Mimftij”. 

30*’  PNO  -eKt^.  — T aranit.  — NOR 

30*  NORSU  — PWN  OR  mj, 
STJ  feat.  — P qag<yr?ttgg<Hg,  0 
gr«raccig3TT!Tat,  TU  place  after 
— PO  jmnargr^,  W ?j  w- 
«T”  gra,  S grad-  — PSU  gfew, 
T g%?ri. 

30*  STU  snfggjT.  — P arvitgg*?  fetsfe 

instead  of  grggr^. 


89] 


[iii.  M 


«T?  <^>A,<lW3Tt  TJS?iT3Tr  VWaft  II  ?'!  II 

vO  s9 

trai  1 3T§t  3Tf?T!rT5tT5^«T5  tR- 

Totaft  w<inR^l  aiT’  I rCf  uffT*  I 

TTT  ^ ft  ft  I 

^ ft^^'^i;  fro  11^^  II 

airft  3t’i 


THjft  ^^ft  ^ 1 

^ cH  ^rfrot  ft^^  II  II 

Ti-dwr^vy‘  I 

ws«f  f^  HR  fiH?R  I 


31*  P ifTT-  — N (j^sHiirgiin^tTn,  T ' 
aHu«3i°-  — P ‘#ra- 
SI**  P 3Tfg.  WOR  wife,  T WT.  — P ^* 
r<UUJ«3i.  W «W3,  N "few,  OT  »fe- 


32**  STTJ  Rrapni^®fe°-  — N — P 

TITO,  T ug^g.  — NOR  f(M<aTi>Hij.  — 
P fimt.  — PWNOR  S fe- 
ad,  T fg^. 


sff,  R 'ftiaft,  S "Waft.  — P 
W i^nra,  N ^^aft.  — P "W5TT, 
N -Ht,  STU  "HUT. 

Si  Si 

3P  N omits  ar#.  — WOR  arfeturaaTTOS 


fe'  — N "fafdRHi,  0 "fefew,  R 
fafewdr,  S "fe^",  T -featHHyi,  U 
adds  w-  — STTJ  omit  iiuulaft.  — 
WSTJ  omit  — PNT  "ferw^- 
31*  N omits. 


32*  PWN  gffe.  — STU  fe.  _ W fe- 
5W3.  — PW  NT  ORS 
#3,  U — P fe,  N iTO,  OSTU 
?rfe,  R TffT- 


32'  WNS  g. 

33*PWOR  ugtfe,  N u^l'in,  8U 

— N srfe.  — PWNOR  omit  fe. 
— N TTOrT,  S TTOW,  T T^fTO.  — 
P eKferor.  — N ^ifew",  S ^ifew", 
T gfew°,  U ^w°.  — POR  H, 
T 

33**  PW  giir.  — P gr3w%  NS  gtafer- 
— POR  wfeaST,  W grfe^,  N W' 
%3-  — p fefetu).  — W 

33'  STU  ^ gfe. 

34*  T — W h3,  or  — 

WU  fesfe,  N felfe  5T. 


iii  34] 


[90 


%nwrfwTpir<!i  g|j!i  ^ It  ?!{ II 

•1M'£«  ' I Wcl  ill e«i  fill 

<l<3ll  I "Nt  • 

*1  ftT3TOi%  I 

fnw>wi  ufgiifH®  I 

feira:  I ^ fx|3r^3TW  «IM<ll|M<  ai^PTftm  iinT?kf^ 
^’1 

*1%®'  I rn  wr  1^- 

fr^'i 

I ITT  TT  JTfKRTf  ^ 3T?  ?ftn!rr 


34'’ W fT3^  f^sroftriig^  U ifkn>i'‘.  — 
NU  fg»Bwyin>  T fd<wdrwTUT.  — 

WORTJ 

34'  POR  WS  gf^jcRH;. 

34»NSTU  arramn^. 

34»  PWN  — PWNOR  ^.  — W 
*4^i««i«>iits<?ri- 

34«PWNSTP  o-ojm;  STU  add  ffpssffJ. 
34®  SU  omit.  — T ^ Tjij  srfenftliT- 
— PW  anRi®. 

34®WSTJ  omit.  — P cntfireBT  i ^ ftra- 
IT#  inrn^d  i fWtaiiq  ti^t:  ufe- 

O 

TRT  g,  T ?tot  cuOfw  ufa^U  J!T- 
rnrw  5f?f#. 

34^PNT  omit  fearo:.  — P ht  ars 

C\ 

iii3Jir«*«i  smar  9ifvi#  i a#^  fii- 
q«#iJ  firaamTOiiT  zram  yawOTaiTTii. 
W a#n  ruTTOTww  ax^Tiii  »d*4aii, 
N a#TT  faaravwfaj  TOnrirgir- 
fwa  I I M^iTw  ti’aiii  fsKa 


fTO  H'6  #IW  STlftniT  5TT3T®^  dc|l» 
0 a#5  foiToi^STir  aarin  9ia  ar- 
arifwar  > R a#^  fuaraarwirr  aamr 
^ fa  iianf«af  ^ ftaraf?  warr- 

3fT^5  S^ili  cl4^  4ii6  ^^1*4  5iT* 

s> 

3T  ^1  ® ^ciTj  S ^ 

559  TifeiTsnTW  9°  aTraT5®<5  arair- 

fira  a#,  T ftarafa  5a  559  faara- 
aro  995nnaT  ar9‘>  mt“  U fu- 
araf?  5a  ^59  ftm*  995rmaf  ara* 
aa°  a#- 

34®  P 9T99fH  9iTf59ir  9T^  9^95  fd  9!T- 

o o 

fTT9fT  eJTufa  *95  fd.  NR  omit 

VJ 

f^cM  see  above;  T fg^“.  — POU 
omit  HT;  nr  d5T-  — N omits 
9i5gT.  — PWNTU  “fgaraT",  OR 

S5 

°f*TTd°.  — P °9ftlT“,  NSU  ->9fr- 
^91%  T — P 

NOR  ‘>#f9a“,  T omits  “jftfaa- 
55n5T.  — PWNORS  5a,  T — 
NOR  aaaat,  T *fans# 


91] 


[iii.  34 


^ Trf^rftrsr  T«rarat  •srra  ^ n^Kiu«it  «- 
n*i  ^ yrniiTf<  1 

Tfn  f^TtarPriT;  ?ra^°  i 
srafsT^TTJfmr  “ i 


34»  STU  omit  — PORT  N 
ut^TT,  S mrj.  — STU  gnnrw- 

O cv 

orfr  UTSiii%ft-  — P OTTTgftlfWTnT, 
w ^ fe  *!T  smjT?- 1 

SirftT  omits  STS  TfiWT-  — N omits 
sni;  STU  an?  fa-  — OR 
aarnir,  TU  »ww.  — P ma,  WSj 
omit;  NR  asa,  0 55Ra,  TU  53.  — I 
N qfafnsT-  — PW  i»aiiii,  N ?- 


0 R T nm- 

vit.  — N grra,  OR  gifr,  SU  inir, 
T — U omits  and 
ST  WTrrrnnjT  arm  $a?-  — N omits 
jn-  — W qrniTfg,  S smiTT^,  T »it- 
0.1 1 f<3-  adds  Ttgrr  i ^a 

34*®  PN  Tfa  afraro  fat^THT;  aa- 
34**  U ^ rffdv.  — PWSTU  aafa- 


hh:  qfdajfH  ?i5n 

c< 

nai  1 

»TI33ir5*tt  fn*ft  TOTOt  ^ ^ I 
^ WfWT  II  s II 

3^‘ 

r?  5«H«1*jTi3ircTO  ^sgiar  ftr  | ^ fiT  »ro  i 
5usi?.^yf(33Tt  an  qiT^  ai  iTO  froi  rm4<!5w?t  ii  ? ii 
fei<i«:  I ^ nuTO^Tfftpsrr  aro  i afn?r- 


0^  NS  omit  ?igiT. 
l»PWNOR  irr^artt.  — W 

N fwitHUy#.  T omits  — P 

TisFTt,  W sr^  N anr^,  T 

uar^.  — POP  TOwt,  W MHuud- 
nft,  N omits.  — P H gru,  W ?n 
gfg,  NOR  ht  afW.  — P omits  m. 
— PWNOR  ♦jr^ideal. 
lb  p'V^^OR  omit.  — SU  omit  fe.  — 
SU  ^555HT,  T s^n^. 

1*  S omits. 

2*PSTU  omit  — S »HT?rtg57TTSTTT- 


corrected  to  STU  omit  — 
W N ^Wg,  SU  — 

T wjgr. 

2*'P  5T3%  NR  5R5”,  T grrs*.  — PW 
NOR  «Tfg».  — PWOR 
N 'gprfest.  — U omits  ar-  — N 
amtTT.  — PWN  OR  ar, 
T ^151.  — SU  ftroafraft,  T feu- 


2^  N 5!^,  OR  5^  3ra,  STU  Mt  T 
adds  Ba,  U adds  — PW  a- 
NOR  iTwrg“,  ST  awgw,  U 


lli.  — PW  N ^3WT3T, 

0 3?ar  rTgr  and  in  the  margin  as 
B.U  ^^fWiTar,  S ^afwTg,  T 
— ORTU  fe,  S oR  fii.  — 0 ar 


wwgw-  — PW  'aTsfuiorrfi,  N «aT- 
gfui^ait,  0 “«afui3b1T,  R and  0 in 
the  margin  T argfiugqit 

^ 3T  fsR  *TjMJ  and  omits  the 


93]  [iv.  2 

fwt  ^ ■srot  w Iff  wmw  ^- 

^Trnj’ 

5*!  I m ^ ^ «^uiir^<^r«r!3ff  I 

trai  I ftrew’  I 5fl(r5T«l*!!«i=?^<,^  fti 

Hftr^‘1 

fcfira:  I wsMh’  I 3JT  <wTUM^  ‘TPIW^Wf  %’  I 

^ S©  vO 

•s ^0 

•fO^  I 

^li  g^^ifterffSt  wtrsfhrf^  •sr  ^ ^ ftf%  m«mr- 

I 

4.101 1 I ^ ^3ftwt  f^“  I 


rest.  — N ST3^.  U omits  ani  ?n°. 
— N S ftran#’. 

2®T  omita.  — P gmnnift.  — N oJito- 
til^ftUooft  omits  the  rest.  — P a- 
lefabotT,  WO  a«fiiioott,  R wfw- 
5oit.  — OR  diyy1«f«ioon.  — SU 
add  f®  3?u 

O 

2*  SU  omit  ^;.  — W fijr  S f®  tn- 
— PWNTU  O 3^,  R 3^,  S 

O \> 

■g.  — N omits  $;  STU  5^.  — P 

VJ 

°af^,  W fjwHuiifey,  N w^tot- 

O OS,}  o 

f^3fT^  f^3T^ ) OE-  ^ r*l) 

o o 

RT  “uni^jT',  S airawfear*,  U 

S} 

'ajTf^3T^?mt-  — P fatjfi#  ftrr,  N 

Q 

^rhm,  SU  R ftrr,  T z fnh*-  — P 
W3,  WOR  <4ii4fu,  N afftw  fesr- 1 

I 

^raftwra- 

2®SU  omit  asTO-  — N U 


”ai!TO°.  — P W 

TU  — WT  wftiRt. 

2’  W omits. 

2®  PORST  w:.  — OR  — P w%. 

v; 

maoTtir,  W ^i^rraaiTiiionift,  N wfe- 
gftnft,  R STU  gnf^sroa^- 

s>  s> 

2‘°N  *i3r.  — P N Hsrfr- 

o SJ 

Iwt,  S Hwfs,  T U H- 

— PNTU  Hwifasarfe  (TU 
®oo>5)»  S aWTsftaT?.  — PWOR  51- 
f^.  — OR  jTg.  — W tirr  w.  — 
P igiFn^,  W — STU  33^- 

aralaft,  U Ueivguinlift. 

1 2“  N SU  tt  i fa<^lag^  — 

WORSTU  3T#-  — P sa,  W omits; 

0 fasnr-  R fesrfk- 


[94 


17.  3] 


■fiiRn  ilf 

wft  wrj  (j?  3TWf^  t|,I 

Itw  TTH 

^ 7!  B craft  ^rftrfT^  ^%33T5,  « ? « 

^c!}|^r<iiTJl  ar^ggar^ciHi  arfr' 

H»g<Q  firfl<!)<!iMj;<»<;KUi  gff  ^’•grft'^^af 

rnftwrsf  ^rraj  ^ftair^  i 
f*n|  xrfeii5nffl«!itr<!!gcH!i  ft 

77  rr^  f<=l7^<iri  ^ WT  3n5tTt  II  IJ II 

I ?TT  ^ I 

mi|-^rMT^r<.aiT7rTafT^gn<grni 


3®N  fiir?T  ft^  nr  fi(r«m  sn 

?niT-  — WOE,  fs^.  — P gg^iiT 


and  a^wni,  OR  g^Ttni)  S ngrnrt,  T 
'id°»  U 

3^  P H^fV  j NOR  ^^Cis*  ^ in- 
stead  of  j^. 

3'TU  fnT(iiy°.  — P °faqi^g.  W “fear- 
N ORT  — 

P farpTfe,  W faihw,  N ‘■ife,  OR 


'Tfa-  — STU  gro  P nnr 


fhlFft.  — P 5ffe,  WNOR  grfa,  T 
5t^  5T-  — W «figgiiwt,  N ^ara- 
grenrft,  STU  fqaranrewrarwt-  — P 
WN  <1^,  S irfew^,  T ^awfa, 
U wfawftf. 

4‘P  JTsg^,  NRSTU  0 jusr^. 

— S — 0 “Tin^aT,  N 

\9 

”«)c?r4«aT- 

4'’P  ‘Jtggtnrg  nanmnw,  W OR 

qatH°>  U °w»5TiTJTOiaft9®(  STU  «nr- 
uaq.  — WS  fHtmt. 


3'*WN  ^.  _ W ^ 7T.  — PWNO 
cT^,  R fr^.  — STU  gfg  m f^- 
wwnft.  — PNO  «fg.  W R 

•f««t?,  SIT  “yjTTl%,  T "vrrm.  — W 
“sgra,  N OR  »5gm. 

3'  N flK  R ^ ar-  — STU  fbrea- 
— PWN  ^af(n<T3(i , STU  »rgrniq:»rt 


4'  N wi?n%.  T fim.  — PN  "fin^arnr.  — 
P omits  fq;  N a,  ST  fa. 

4**  P W NORSTU  na. 

4'  NORSTU  vm. 

5*P  qSf^rfafTfasrra* , W u^f<jfa%  SU 
— WNORSTU  “wfta*.  — 

o 

Mss.  •frar“.  — S -nrami. 


96] 


o 


[iv.  7 


WRr!  ^ I 

r<H<lff^3T^  ^3TW  ft^  II  M II 

rr3n  I ^ ^ I 

?nP3HHTf^Tnt  %Wt 

r«fyMif<<!!i  I 

'iJirriRfl 

r«u<i^f<aTfR??  ^ -ftni !,  II 

arf^an'i 


31#  <*RN*lll#  I 

rii=nrti:*rt'ii  *i|4^«3ipm  w ^ s «i(rJmi  ii  ® 


FiSTr’,  N FT^r’,  OR 
STU  qi^ifdaffegT”-  — WNOR  ‘n- 
ftu«<4°,  S "T?TO?TIIT°.  — PR  “tftTS- 
5mn,  W "OTKHnii,  N •‘irtTjfgnii,  0 
“TKmjuTnd. 

\j 

5'  OR  OTTO')  T “qT*.  — PWNOR  "gr- 
T •?n%3TT‘.  — S -^sTnij, 

T “uilfiaainii,  P °9r«iiHi(n. 

5'^PN  °f#iT^rnir,  W ORSTU 

“^rqr.  — PNOR  idr,  STTJ 

O V5 

5'  0 omits  rrarr-  — WS  OR 

— PWNOR  — P ar??i,  w 

f#®-  — N 

6*  N hqmw°.  — W §in^,  N gTnrrrr- 

6'>N  'arferit. 


6'  OR  STU  °Kf4rVJ(i]l.  — PNR 

^3T?ir^^3rT^rr>  ^ i^^u f 0 

corrected  to  — T '^fer^TT. 

6**P  'fCTwtFS,  W NU  '•fear- 

T — PW  inn  Tu  ^- 

q^Tj  T W* 

7*P  W 5r?5ft%  OR  gilgnq-  — 

N ST  fnw,  U 

— N fijru&iKU]' 

7^  T QiqiiiUui^Ujl  «qiHI- 

7'P  TU  — P wafe- 

u o 

nsROT.  — P giiwfuia^  nfyi<x3#, 
w «^T3?i,  N *TO5?jt, 

0 «&5#  miHiffi:,  R wnttjt- 
7<^P  Hld-H*cKqwm},  W HraTfiF*:j;riH>  N 


[96 


iv.  7] 


I ar?  ^ HTSiffl'  I 

^nai  r<!!«fc(3rf*iK'ri<«=niU!Mii  i 

«iwra  ^a{«!!<HmR«ti<ur«MaiTO 

sD  sD 

<w^4ii  f»!if  ^n?ra%  II  t II 

TTsrr  I CTTTnwftrWhi'  i 

wnw  'STO 

3trai  tiTO  ^ 'iTdirTj  ^tfi  aiftj  i 

•snrj  H ar  ft  nj  ^noftrot 

(TTTsi  arftr  T)<!n<.^*='Uinui  ■srran  ii  « ii 


WTolT  ■ftr?%f^fT^fr , OR  (iiciiricti'4vci44i- 
m,  S TU  fTrawWfrTrfr  (T 

?rr3^»).  — WR  -Tii,  0 ir$ 
— N 

7'  PW  y!i,  S omits. 

8*  W wjgn^TTO?’,  OR  w-rrin^gtJ 

nr%  ST  U *n?r- 

u^rdgr<iidxj^uj°.  — TU  -Kfjmrii 

8'*  P fiiiPeTti^ , W ftraftra- , NOR  fiira- 
f|T3%  STU  ?TTHU^«f4|(i’  (S  o#fe%T0- 
— TU  »ftrrT5r. 

8'  N ^?rFfw,  STU  <h1hi«.  — N g^wir- 
STU  ^jrftuvT’.  — PWNORU 
’9!iir%3Tnn,  S T »g;- 

o 

aifta-iUli. 

Ck 

8**  PW  i*(!if<j,  N arefsT,  R 9iTTq.  — W 

o o 

NO  5Frrai,  R gRmr 

9*  P ireaasft,  w OT  q^aft.  R q- 
«rPT.  — NOR  »«%T%  STU  — 


S »WTT’.  — T — WOR  i|jm, 
0 in  the  margin  tjjjiut. 

O'*  WOR  a®fmn  wnrftw  iirf?T  ^ 

JDTW  (W  •grft);  0 in  the 

margin  as  our  text.  — PNOSTU 
rtl<U-  PO  Tqijf  5(  I N 

TU  ^ S3-  — o erarsr-  — P 
N 33^,  0 3^. 

9=  P 5mj  ^ ?ir  fq,  WOR  3 ftiT^  qr 
(W  tqrpiT  omits  qr)  fq,  NSTTJ 
gmq  ^ (SU  «r  wqrftr,  O in  the 
margin  ftrea  srqr  jqqr  fq-  — ST 
— P fir,  T omits  qr.  — PW 
T — SU  fra  S3,  T fnf  g.  — 
P ^ cnfeqff,  WOR  gaifaqfl,  STU 
vdH  I Paqif- 

9<*  P srfH,  N ^gfiri,  T f^,  U — 
P wqffT%q;%  WOR  sTJrfjw 
— NT  jmtqwT-  — S 3^. 


97J 


^rni  [iv.  9 

o *■ 

uffi  ' I 3Tfr^  I 

1 3TfT^  I I iin  ht 

T^TH^  5TWT  HT  f^‘  I rT^  rf 

HTWT^^nri 

^T^JTlwr  ^rfewwr  1% 

•sn^y^f^mfr  ^nrmf^^w  ftr^iafr'  i 

3TTTT1^  ftT3Ti;^ 


0^  P nsn  fe^%  S omits. 

c\ 

9^PW  arfe  %T  arff^,  N snror 

STU  ^F  3rf?«I  after  gm.  — N h- 
im,  OR  Hr^mTT- 

9*  P W ?TT!i3.  — STU  aarwt. 

O o o 

9’  PWSTIT  9!%fti.  — P H>pfffq,  ^ 5K- 
iBH^rffTO.  — P H,  "W  H,  STU 
omit  3 add  TTaTT  I 9!%f?  '3  I (T 
omits  ?)  faS”  |. 

9*^  P ^ OT,  W omits  N gr^  aj^fd. 
OR  gRft  Ti^  — PXOR  'TigT- 

O 

— P tdvcjiM6dt!i,  N “warmer 
— P HTTn^rmr,  X imn^stR,  O ?t- 

NJ  V*  V5  O V? 

R T «0ldcJKI!J.  — PX 

O VO 

omit  T iTeTT-  — PXOR  omit 

— POR  omit  isrhf-  — P 
OR  omit.  — WT  add  naTT  I rTfft 
?T^  I fe^Tsrai:. 

C\ 

9’  P translation  only.  — X oi’^fd, 

O 

OR  ?T^  aarfiaT,  SU  3t-  — 
WT  omit  rJ.  — OR  minr-  — W 
X »^WT,  STU  omit  aalo.  — 


X aT>H^e([‘’,  STU  fuTTHfUHP.  — 
T ufhra.  — w «a^u,  S arfrar.  — 
w fiiraiii I NR  fufijd,  0 omits; 
STU  ftjT^ar.  — P aan  q^rf?- 
avjlfuri  •Hit!  «tr«ii. 

9'^  W jnj  g before  anir^°  — WOR  oR- 
f^n#Tin  anrw^qn.  X ait^ii^uji  awf?” 
fu4wnii(jrr  fasHttiui  tinjrywjft  omits 
and  fn  da;  ST 

fa  da  — PN  omit  WOR 

Titi  fa  Jirm%  W -aar,  OR  '>%ar. 
— P omits  a^-??aTaff.  — XOR 
omit  a^;  S aftn  fa-  — W trt- 
f^rarrar  airaTenrar  irgairaffg,  X 

favadanranaraHraTaft  (0  sft’),  S 
atuui  fat  fa  ataara^raTHt  a^ar^, 
T m,u4<  difddaitctM^raijfl’  aaam- 
U arait  ^fadartarairaTaff  Ha>- 
— X atmrftrn^aT",  SU 
arrmifdrt^aT'’,  T afdattav^r.  — • 
P ’dOTa,  X T “fern.  -- 

S foidTllsff  T flJIdcdl 

o 


[98 


iv.  9] 


w?«5hfr  i- 


^•<*ii<r4i  ^parpn^rr  Hrftjs- 

f^art  TT^KTairi 

ftr  ^i^tai^aTSTralanart  Tir^atM^iviifttiHart 
ait  sirewrafr”  i 


9®P  m wmi’.  — OR  yd^?!, 

STU  ydiiH^i  (U  y^H^i)  fwar^rar^T 
?a^Tfi,  W finin°.  — SU  f^.  — 

o 

PWORS  omit  ; N IirnryOTift. 
T trrm%«rm.  — U omits  ij^g.  — P 


uf«an^f«H^xaoiB^f«40i  r*ia«(«!iy\SHT- 
gilt^>tftuw^wi!i  ^ ?TTylyf«iyj,  W 
gferHftr**r?p^v3[TjigP?n 

N OR  “y- 

%f5tf5i(R  °g°;myi?Hcqm  fn 


(R  omits  STU  “vn^i^rmad- 

— P «sr5»»auiio  fe® ) N aftdJJliy 
fe°i  S ^^faffrftnrrni.  — OR  ftir- 
^wafr,  S ftrarnafraftrart,  T %- 

vdTi  icTT- 


9*®P  grau®  03^“  eF^rTO® 

W *5“  ^3TIT<>  JTin5r°  cFy(||l4IH. 

N «lid°  y<l«ir  cne4»?i3T°  c<iy<ir  Wi|»il® 

V.  o 


wrftiTiwrsT , OR  ^3°  33^®  ■a <501® 
W5FT3T®  rnftn^®  (R  adds  eraiiT®) 
WTMWH,  STU  %3®  5F^®  93^® 
(T  5J35T®)  Tirfri^®  Tamurra  (S  ®5n, 
T ®i^;.  — PT  ftr,  N f3  «tI-  — 


PW  iiimyqid,  N HM  fn  timryw- 
wt,  OR  urm%3iTan,  S wraurrotsTt 

uftyy^wui  aft^3T3ft,  ^Y  cT?  9R- 

O 

OR  5ffH3aR3^f3iT3Tt,  S 


omits;  T ehfu3<*(iygl«jt,  U 9rf^%T- 
'nldS'flglsrt-  — P (isTlticfiieenrt;-!. 
W ?ral?r*5i^® , R H^sFainitiilafT. 
S riyiH*«iyifiSI{|l3ft  33WafT  erfe- 
fedfumifsaaTtatsrTglaft,  T ?i'3^,  U 
rJSg^I®.  — PW  3fe3T3,  N ftraftr- 

c> 


arraft. 

9*^T  8TH«fe  gsR^TWuarf*  fti.  — W 
OT  afT",  N R gfr®,  SU  a- 
5sTt®.  — PW  Frar®  TT%T“  *dU4*Hl, 

V 

N aK3TW®  fT3T®  tnlnw^^f^,  OR  tt- 
ar®  ?T3T®  c^didify , S aar®  anw® 
U arm®  narifa.  — PW 


omit  1^.  — PS  omit  ^®;  WN 
inmyaTraTT,  OR  iirmtsaart,  T i- 
fRaifi®.  — P yfga*sa5nfa«r<»HJn 
fwTdHtJwtn  mi,  W 


99] 


[iv.  9 


ffRT  fq  ^T!T  ^f^“ 

TT5i  iHi^irarr  <<15^7^1^ 


^ 1 3Tft  ^rohrPRF^”  I 

W:  I TJTR  ^ fx? 

ftr^“  I 

hh:  gfqajfa  Hirfifgn’® 

Hirfls*!  I ijai^  HjT"  1 i am 

^Ofsfwtii  ani^fpT 

iri  fH“  I 


H?n  j , N Tsmaro^mn- 

fniftjft  Hw,  OR  ^- 

ilta^ljdtrtimjreiT^rirHI , S ftt' 

T 4)(]J%icjTlVJIilir?3fl',  U 5TO3T^- 
TTerTgcnraft.  — P Wb^TUdwld,  NTU 
omit;  OR  Hagrorar^ad,  S 'trrfH^rr. 
— W ^01  3HT°.  — PS  ainjT- 
rmd,  W 3T3HT3,  T qTalfcWtHtidlcn, 
U tRS^H^qiST  Siituriljft- 
9^^  U omits.  — ST  fg,  N htut  fe- 
— PO  W J135,  R omits;  T 
3qft.  — ST  OTft  wf^tw.  — P wfe- 
<ic(<sT  ent.^Tlti'’  Hl‘i°  WTUr  ti>f«<acjir(Si 
W fitir  wr<s<l°  5ffW- 

dfd  > N wferT®  qrfW®  ri^<r’ 

jTTnra^,  OR  wfdu°  9i<rH^‘'  snjpr 
ifHdfd,  S gir  cmr  q>5?nH“  irfecT' 
*f5idf<j-  — PT  fn,  N tra  fn.  — 

WOR  omit  ira  cR?°,  N see  below, 

— P “wn^.  — W gnnqfeH”,  N 

1 

qft^TT^mrhrt  gqinir,  S cwimd^dl- 


T omits,  see  iv.  9”.  — 
P H^iglqqfgqiJ,  W wTSlftraff”,  NS 

Sd  vj 

H^ftrartirfe” , O wsfe3T“,  R 

o o o 

^aTtrfs“,  T — P w^- 

•Kdltdiafl,  W ai^cKdl",  N ddlujiM- 
yanrafl  a{«=Kfll%  OR  at^dvd1%  T 
— WNOR  — 

PW  add  ira  dlyiraiulafl,  N adds  ftr. 
9*®  PWNOR  Hiwnfl  ajd^dfrUdb 

9^*N  wt  aaro  wr,  STJ  5^  fe, 

T ar^  instead  of  5^.  — W fq;- 
! srfq,  T ftfi  fe.  — P Fcnaddwm<ii> 
N OR  ftuufaj  fq,  TU 

O W 

fcwrfe^.  — S qf^aiT.  — P adds 

TT5n  I aiiiiT®(4. 

9»*  STTJ  qftnq. 

9“  PN  omit  HIT’  — SP  T ^ q. 

sd 

— WN  JTgTTTaft. 

9”  PN  ^ W 3^.  — N 

faiBlddl,  U °S^. 

1 

9*®P  Mi'd^dWTtiig^Hirg'Hlw^'md  qsFaa- 


[100 


iv.  9] 

nsn  I I 

rnirtii-Tii^  I 3vft  qftgpHi  vjifjidifyd^in  Hidun:** 

?th:  nf^aifd 

fcfeSH*  : I 

cv 

s3  S0 

f«^5rr  aj«a|l!jri1*n^  alert *i($4!j  JTfilRTOf?  II  "lo  II 

ar'i 

f%fW5f»j  ??TR  I 

WT^ronaroiaiiaTt  ii  'i<i  ii 


irTT^,  w MrETOT^  wpra^rawT^,  N 

^3wF(J3t%  wfear  a<i«iryfw«^ydl5T- 

C\ 

eFW'i,  OR  an^i-^TflugHa^aarwr^, 
S » T rrsraTW^- 


U fTSTam^”.  — P iaiir 


^ fqfsvsrgocrfiir,  N ”3oa,  T <‘zm- 
— P omits  ftr;  W NR  f?T. 

9*®P  w^,  NS  snura'fe,  TU  ^ 
aiiHiHfa. 

9^^  NOR  omit  qft».  — P m«idt)T?«i, 
W --.'tWHTfert^,  NU  TiiyidiO^tii,  T 
wmRTaftgni. 

922  PORSTU  omit.  — W 

10“  N -f^’  wt  — S "M- 

U\ 

TU  “WTJTRgraTjrY  — 

O 

OR  ^frOTT”,  T urear-  — N gfkar- 
TTWaft,  STU 

10'*P  fwTijFfi,  W frif^fk-  — N arasrlw- 
fmrfsT,  O -•ftroljk,  SU  ’iro^art,  T 


"jrolar  — P owaaiw.  N gr- 
rTT5f’,  OR  STU  gskakr.  — 

W wfinwr^rofl.  N °giT^fig,  OR  »vn- 
Tirfig,  STU 
lO'PWSU  omit. 

11“  P ^ W SU  °wrftad. 

— WORSU  ^ N faf<jfw, 

T 3TIWT  — P gkrr^g,  WOR 
N 2rt#5k,  S TU 
— P iiifraurlaft,  S kr^aft- 
ll^’Mss.  "net'’.  — PNORU  "uraraft,  S 
-aiarTsft,  T °qdia1-  — S tnw.  TU 
tiToRW.  — POR  WN  kMkt 

O 

S omits.  — P W N 

ermm,  S rT|aft  kt,  TU  kt- 
12“P  HiTW^RreEnT^,  W Kmir,  N 
°kte-  — N S Hi5aiY.kvj , U 

Vi 

'sTT^kUT.  — N S TOTT°.  — 
WOR  — N ar^Tjft,  SU 

OTfTTad,  T artm.  — PS  kfk,  N 
^fd)  T aatfk- 


101]  [iv.  16 

Tmtff  ftff  ^riw«i4  ^iTtaii II  II 
aiTOT  «f*iNH.3?ri  vrWiw  fW^  i 
113%  fTrart  ?if?an«iiHs-  m*><iNniNs  i ii  «i9  ii 

3?n  imNnsr^s^n^i^iTOT  fnWi^i'ii^  r^yiftHiOart  i 
Mr<rj<M*!i  snirar  ?m  ^»ii%  ii  *18  ii 

fW  g<*uii*IU«ll  T533T  I 

r<!!«li{(l*!i  TTfiPEftwjf?  3TOT  TTOTOlf^iyaT  « *»M  H 

5|iT  <H4*<<<^M<ll  TOT^  I 

^Wf|  M^irs-^rSlff  ’?%^iWraiTT!TftH  II  <ll,  II 


12"  HSU  mifis.  T irafii.  - P *fii, ; 
— NSU  irrwt.  T u»q<»-  — 'WORS  j 
N TU  ow^Hft.  — P 

W N iggfH,  OR  H «- 

f^,  S ® II  Jir  II  f^,  T U 

13*  U wtipir  — P gfiirerruT^',  OU  »>jt- 

cv 

R »^TTW?.  S T V- 

^j<M»i*H'ftvii<.»ii<i.  — N 5Tnrf%.  OR 
«fiyi-  — R fc4<afn,  ST  fialifH' 

13**  T 0^.  — P frfigsmir  wn,  WO  in 
the  margin  R wf?5mir  *fn  (W  ar* 
ift),  N ar  fu^uu  am,  o in  the  text 
arfisramir  am,  S fa  faamnrm,  TTJ 
fe  tjatmmm  (T  -mr).  — P jmft- 
»ra,  W w#sai,  OR  “Waft  T »wfft. 
— P *5mrd#T,  W “amrajT.  N “m- 

QldiUll,  0 *aiU)^^|  in  the  margin 

“^hm  R crrenra^,  T 
14*  N HwT^i^m^nrTamT . OR  “chMd'di, 

S w«i1h<t3i^°,  T U w- 

— P fw*€9l'dlJ , N I 


^Tg^gnlraft,  OR  f^^^rarafr,  ST  fw- 
am^wrarafr,  U frttae^rtnaft, 

14b  ■yyTp  ^ N °w«B-  — ORST  »w- 
nin-  — W wtlH,  T asrfH. 

15*  N omits.  — P wHmmfgFrfj  snwr, 
W 'arafhjT^H,  0 OR  *h- 

FfWraft,  STU  wgTHHvtilaft  s*°(T 
ay’j  ia!Tr«afTr>  (S  •figpT»,  T »w- 
iprr)-  — OR  “Terra.  — P rrorr, 
OR  15^,  8U  IT  rt^,  T w 

15‘*N  omits.  — W S “w^, 

TU  nrlfjwilni.  — P wi^i4»i“,  S 
“ftmraf.  — 0 aSfe,  R end  of 
the  mss. 

16*  PNO  aifk^o,  WT  S errfear*. 

— P NT  *?|arT,  0 

S — PWO  iraw^“.  — 

WNT  “wmir,  U “T5Tn.  — WST 
feaiTwl. 

16*>PWN0  ywgifig  (W  “f%),  SU  ^- 
airf?.  T att^sTciTpig.  — N qf^cufig 


iy.  17] 


[102 


wt??nt  ^ rtiw<w  II  ‘IS  II 

%^3inpro  anroart  I 

artwcffiT  TnsrarfTT  ii  at  ii 


afdvu ' 

Jnrf^^  I '*  dJrileW  “I  ^ n^Krafr  n<>i<55sir<l  ^>aiT5?NR aj- 

I »n  AiN<rH*  i arow'  I araiT^ 

nar^  >%r'  i ^ r«t«S!5r<i  arar  marewi  5^  ffii  ■Rfrytrs,- 

^ ■%’! 


gsrrfH-  SU  qftxnfi",  T 
— P gf^Hcnw , W :5  grw’, 
N 0 TirRi^w^hiilirig,  STU 

^g[fer’,  S »5!TfwT.  — P x(^. 

17*  P fiaftgr^^rerww^i  W °<4)d<ui'rjjiui- 
NS  »gv3’,  0 ‘-BticfWaOTi^. 
T fiiRfgiTJThr  U ’■fe^'’- 

^rruaifdd",  N ‘»i?^UgifHHdHI,  0 
’’ITT^H^fdWHUU,  SU  -iffsT’,  T 

1T*P  «ifjuiil,  N onOuiil,  0 gfMhri  T 
gTtarftiT  sa-  — P WO 

N S ^3TTir-<!iHl^.  — W »?:- 

m,  N ?TT?T%3TOT,  S — P 

fatas,  N IWMfH,  0 -far^. 
18*PWO  — P »^^aiyu!ijifHa«r, 

o 

N , S ’cfmrrftn:’)  TU 

NJ 

'irfwTT-.  — PWNO 

IS**  P W ’wrfwaT'f  N ’Trrftra% 

0 S afraama^iffiaT'’ 

correct  ed  to  ama’ , T afimaaTTaT-  i 


wrftraT”,  U aaraaTTargrfe^'’.  — PW 
— S srafe- 

18^  P omits.  — WT  add  Hltfiran- 
18'^  W feilga. 

18^  PWSTU  5^;  PN  add  igrjrt.  — S 
omits  wgnraft)  u puts  it  after  jt- 

OT*.  — P jmnniraf  iSa,  W urmnra 

u o 

a aefl,  NO  jrarar^  (0  •^) 

Ji^,  SU  imi3T",  T aTa?3T'>.  — PS 
TU  aig^,  N — PWN  o^%t, 
T '’ycw^flwijiufadt,  P atwyygi, 
W 3t<ffua^,  N arora^,  O 
S af^  U ofgft. 

18*  P fTT  fnna  fa,  N m fiara  fa  a^ar, 
0 omits  aaar.  — N Saffa^raffaaf, 
0 faiiiFcii,  STU  SaffsR^f^.  — P 
WNT  fd^Hafa. 

18®  0 siata  once  only,  SU  ^ once 
only,  T ira  — W jnrrrra,  N 
3aft,  0 

18^  W M^na  Sal,  PNO  add  v^,  W 
— STU  5!T?;  TU  add  aT55T-  — N 


103J  [iv.  18 

^ I ^Kfw^  m f^n^rm  ^sw’  i 

sO 

I fw5fhrf^'°  I 'rill  r<^nf^ 

•q^TRiairit^  ^ Hi^TTjT^  ^31  ■crfejirf^”  i 3T3T  ^ 

^'tiy 

I ^ I in;:  3tw  »n  tot 

I TT^  fkwi''  I ^ wFTOf^  H3fN  fir'*  I TOt  "N 


S adds  ar^.  — N 

SU  WT|  T — P HC4I 

o 

trftirrrfe^.  W N 

Nj 


— W jfrfic,  N jfrtf.  — W cF^ 

SJ 

MtTSrnrt^W  TITO,  N ;f^  W’.  — 1^ 

o 

cKSH  — P qfirmifadt,  W uf^’,  N 


omits  f^:  S T “iin^ra^, 

18«W  wr^!,  N wl,  ST  omit;  U ^ 


omits  ^ — P °cfi^u«%  W ’5KPg- 

S,>  NJ 


34jTtn,  N v*rH*tT?s'’,  0 3T^f^%  S 
TU  MTMI^Idl  filti<fd3T  3T^  (S  3T- 
3Ti)  (S 

18*  WO  nfac^af  omit  iTCT.  — PS  w%f^, 
N grufl,  T g;%TT,  II  g;%H.  — P' 


adds  f^  W SF  ®ef  fn,  0 fsR 

vz  fn- 

18‘°  N rg,  0 ^ SU  553,  T omits. 
— T c»i real’s. 

18^‘  P 3H  ui  fn  1 1 rH*d wd  d«lv  fsrat,  w j 

poTjdS«ir33TO,  ^ amirlTTfTTjfT- 


TJd^«lfd37¥ » 0 smirTT  ftllSarlSd^-  j 
?fH5aT%,  S atuiHi-^*arid^4fd3T%,  Tj 
at<!TdTT5ft#d^d^flfdl^  > II 

— P iH  H <1  y w fui^: w ufl , ^ 
W TjtJTTTOTnftn^jri,  N I 

0 qtTRTmrnfiTTapTT^.  S jTtwTmrwt. 


uf^^ifadi,  o 35^*,  S uTgifaw, 
T adifedT.  II  35’. 

18'*PWNO  5%t.  — POT  ar.  — P f5- 
^ST  ftnrra , w ^F37  >T3^5T,  NO 
fd«Kyt  irfen,  S afiK^tnifafg  ufagn», 
T fdiflirafTsftiifa^iy,  U fd^gifafi- 
wfagiw.  — P fT^  W 55T 
rTOlfq,  NTII  omit  35^5;  0 5^  55. 
— P fgyifagi  3 5fr,  N -IwTfr. 

18^*  0 ^ 5ft5TTT5I,  TU 
18‘^P  fs,  W 5Tfe,  OSTU  5T5  W.  — 
NO  JJfdf«Kd5IT.  — PWSU  3T3T53T. 
— P TOT  arHr^,  W wrarNra^,  N 

SJ  o 

TOT^JT^  WgTTTarW , O ii  pgri 
ST^TT  sjitlsTSr  HT  55TT  3T?375 , 8 uWld 

o 

3Wr3^3T5  TO,  TU  33n3?3T5  TO- 
18'“  PS  omit  H^.  — N ■fe^Tri,  STU 
wftro. 

18'®  W gi  MT*  ?T  3TO53,  N arifd^ffT,  S 
“F5.  — 0 wrguiiaY  — PWNSTU 

omit  fff. 


iv.  18] 


[104 


riw”  1 ^ nrro  trail'"  i tto 

vulihitw^i  fw'"  I FT  ftrf^  -srar 

■srf^Fftinl  Ffwf^  W”  I (if)'  FT  Fi?TF^<!!  fTfu^T  iw 
^FW  fF  ^fsRTin  f^  Ftf^"  I FJT  ftift  >%- 

I TT^  P=l^fFaT  fOb^  F 3TT%lf^  F3JF  fTT“  1 

aiT?  F r^IB^^FfF^"  I F^5IFT!tT  ft  f^""! 

“ I ^ TT  FtF  Fftt  ^IWr”  I aTwf  ft- 

FTft  FTOFTTF^”  I 


18'^  P FTift.  — WO  omit  fe.  — 
0 STU  3^;  PWO  add  g. 

— T ^ «T%  U tw- 
18^®  N arra  — P W »$- 

NT  0 HT^t^rrrsH.  — 
W 

18^®  S ^STT.  — P 'iraTl  fh,  N "Jhips 
imw. 

18®®  p fefcHljf^.  WT  (T  »fi),  N 

0 — P W 

MI^,  NO  airfe^,  T omits.  — W 
NOT  omit  givT;  SU  grg-  — STU 
omit  5FT.  — P y*d4*irtUll,  N 

^4igffT° , T “Tifnn?  -gfewfe-  — P 

omits  frT,  — T adds 
18®^  P omits.  — N omits  ht;  0 jr^.  — 
PW  “mrwfwir.  N »ttstw,  O "tmt. 
— PW  Tjftxjrrfe^cEiT,  N “cicROT,  0 
•Tjiir«<j«eil  fn,  TU  “uieitii  — N 
— NSTU  F^dfcKijuiM,  O 
^o.  — NU  omit  f?r^;  S fg 
— PW  wfemfe,  O irte,  S 
TU 


18®®  WNO  «wi.  — NTU  omit  fe;  OS 
ST-  — O g^gg?.  — PWNO  eF^, 
SU  omit;  T g;?g.  — P vfHg,  WT 
ifrfg,  0 wig  fg,  SU 

18®®  P omits  frgt;  W gi.  — SU 

T arg^gfijar  3«.  — PNO  wfijrar, 
T wftng  — P qgr.  — 0 atiuiqfd, 
S afTrfew?.  — PWNOS  omit  ft?. 
— W adds  g g;ltfg. 

18®*  P g^  ars  g.  — PNSTU  -f^.  — 
S gfgw. 

18®®  P TiFW  fe  WNO  tj^  TO* 
(0  gfego)  SU  ^ TOg*,  N <>gfeg- 
itnrtufag.  — PWNO  omit  fg.  — 
W WT  instead  of  fgigTi  N omits; 
0 fg.  — U adds  gig. 

18®®  0 omits. 

18®®  W gr  ^gygiui  ng  STU  gg’.  — 
PWT  omit  g;  N g,  U gr.  — P 
ggfg. 

18®®  Mss.  gg.  — OS  fgamfi  — P gr- 
gng,  N grg%  STU  zwtt  — TU 
■“W5ifj 


106] 


[iv.  18 


4.1911  I 

Muf^i  I xTR^wnnw 

I HT^T^I^  ^ wff  wrftrwf^”  I ?T- 

^ iwfr  I ^ 

fnwii^^r”  I 

rran  I •srirer  hi  ^ hmi<!k**i  fw  ii^'*  i 

ftfra;  I ^ I in  I Hw»®in  arni^  ar^  fnar^- 
ftrgirftjaT  M»g'<i^r<  HfTfeai^HHsi  it  i 

uftilKJ 


18^®  P 3 W.  N a.  0 omits;  STU 
— N wwiui<iuj^r<ai.  S wrynuiu- 
wraur  P uxTrar,  TU  vn^wm-  — P 
ufiqqi,  W uCi<K4 , N in  nr5a5v4T. 
S %ie(4.cf\$<l , T m fas  > P 

c 

— O adds  3 ht  irfa  4<f^ 
9 Htra  MTaiuidi- 

18’®  P STU  omit.  — P!NO  cm  IVq,  ' 
W »i.  — W gwacrfiiiiw,  TU  »5gn- 
TIT.  — POU  "^o.  — P »HT^,  N I 
S «a^’.  — P 

WN  •^anw,  0 o^Twaw,  STU 
Ttl^lg  (S  «rTO). 

18^1 0 — PWXOS  omit  fe.  — 

PWX  3!^  omit  ^RT.  — PWNOTU 
omit  rrf%  — SU  afjrarftmrfe,  T 
wrfmjiFd- 

18^®  P arm^,  W ann^,  N fn  ar- 
99T.  o HT  ^R^T,  TU  fTHT^  — NO 
TU  omit  ar  — w dfsKaHirdf^dl, 
NO  tt  I fa 1 S ri4t  loi°.  TU 
cT^H'’,  U “farf^iJ.  — P 3^^^. 


w iaTftTOTeTTi,  N ditS€S^»  0 
clTl ji'gH'll.  — PNOSU  omit  wfe- 
mfz;  T gfawfd-  — PWNO  add 
fTT  Taia  (P  njof,  0 ggjcEf) 

6l(i«i  (P  JT35a,  w lTfT53). 

18'^®  P omits  ^rfn.  — ST  omit  nftsTO- 

m W TT^n  — WNU  ^ — 

w latrfOT,  N fa^nifwat,  O feat- 
fwai  ST  vKaitiidfafitd,  U w^rar- 
chrfgf^at  — PS  omit  fa;  WT  fa. 
— p r^tfw. 

18*®  OSTU  5?m.  - N SU  vi. 

18*®  NU  finai<*^°,  OST  ftrar^^.  — P 
W f««c*(UafHU,  0 “oaf^-  — 
PO  tjggmSfk,  W TOiaf^.  wht- 
trfe,  S »a^,  U usgirgfd.  — W 
iir  ? ytatwwltWHttn  N ^ 

o o 

a^“.  — P -cFaa^, 

s>  os^  ^ 

W , TU  °9iT^ngt±it  — 

PO  fecti^fa,  WN  faafa.  s g;ri,  U 

I 4iTtfe. 

18*'  NO  hh:  qfenrfrf 


iv.  18] 


[106 


mcJM-rj;  I m fisTfero^  ftraro 

■gronST”  I Jri  'njra”  I 

5F«lWif^>T^  qrFTW  ^ S HOT  I 

vD  sD 

vramiuTuTu  i a^i5T  TjT  ftip^rarf^  ^jrcqTTr- 

I 

f?H:  wf^fn  Ht^MgR'idwifddWH  *u<«>3k1* 

I '^:w(lf^'  I 

iu,cJH*ri:  I ^ -M,  ‘ 1 2>i  I 

MidR-rj:  I ^TTfTH®  I am  fti  1ST  ^ I 

ufyvu'® 


18^®  P ?T,  0 ^ gr^Htiw^fiiffstfgT,  SU 

cv 

^JT5%  T 5r3Hrf%“.  — w fpjj)HW, 
N fdfnfisdw.  - 0 fnsPT’.  — N 

SJ 

■’aaiPTOi.  — P fqvTPi,  W fe>iR, 
N fcngror,  OSU  fq^rpi,  T fq\uui|.  — 
W gm^TPn,  0 omits;  T gRTirar- 

O u 

3Pi.  — WO  add  ^ (0  PtBI)  5^ 
(0  Tsraj  ?qpiw«  %|rfjT 
IgsspN  omit  frr;  W iti.ir^r,  0 gm^r. 
— SU  qpnq.  — N adds 

q^^H- 

19“  P °wqpn  ^rsTw.  — WXS  omit  qrt. 

O U 

— P wttttttt,  WN  qrnn,  0 hitwt, 
ST  HTmrnTT  fr  -pj).  — W pfirpH- 
T^,  N pf^igqaf- 

19'’  PNO  grarfe.  — N q<«i4l.  — 
T °chiiHTjQuq|. 

19'  P qfawtqfa  g.  OSTIJ  “uulufira.  — 

NO  omit  g 


19' 

19' 

19* 

19' 

19« 

19’ 

19' 

19' 


0 3T^  f^-  — P fwP'iafd , N 

3P3T^3,  S fppjre®^.  — 0 

O 

— NO  °3aPTpr. 

U omits  cTH:.  — W “dWtdHHiriH^H, 
NSU  mpiayif<iH*sT,  T 
TU  cRn»  qm^nqq.  — P qpifaj^lFH, 

CV  o 

wo  qpif^jiifa,  N qpifaj^fa 
P afad-  W ^ N a^,  S 
sr^  T 33^.  — P JIT  — W 
5Tg,  OT  HT%H.  S tT%%.  II  pniw- 

O O 

N omits.  — Mss.  — P lOT, 
0 a^PEi,  SU  ppq,  T qpg  — P 
auti^.  W aqftm,  0 asrirmn,  SU 

\J  o 

(S  aq”)-  T a^f^ftfs- 

o' 

PNSU  omit.  — W qj^°  fTOT  9«?ST- 

— T omits  auFenifd- 
PNOSTU  omit  ; W T5*  W*-  — 

OS  omit  WIRH- 

0 cBii  arsai  — STU  pi  pfir  araai 


107]  [iv.  19 

TTirf  I ufiHiui  grt  j ^^ftga  | I muraranitw  'a**  | 

?3T  I WT  'Ni  I wara=3  nfa"  I PmacflaT^ 

•fttaiPTTO  ^s^afi  war^  ft?”  i ft  nftjpi 

OTTftTW”  I 

WSM5?r;  I ^ F!^^aT^'•  I 

nis^  Kir^fO  afiair«fr(*® 

1 raxirm**  I ^ ^rajJR^ftTRJT  I 

UtKiaiH^  I jfF  F»Ui<«%(r<,  gtWI^FRTiJ  ^ n^3T 

FCT$  ■Pfj”  I ajPTO^  Fwt  wnFii”  i 

?TOT  aprlfk^® 


fe  — N int  — 1*  ctn>iic(tjl 

19“  WT  rnsft  s 3a1  and  omits  tl\e 
rest.  — TU  omit  uf^ainj.  — W 
ftrpftaa-  — P omits  g;  TIT 
1912, 13  o inimifa  I w I ftrr  5T^3T 
.jafaMg  I 3^. 

19'^  P MU,  w 3T^  ^.  — P Mirarft 
W Ma^,  Sir  “ai. 

19'®  PN  ufdaqiaHlau  g,  STU  omit. 

19'*  P MU  ?M,  w mm  N ^ ?M, 

0 MU  Uitu*  ^M,  T ^M  M- 

19'®  NSTU  U^  0 
19'®  T uaFTO  w’  uf?r. 

19'^  W 0 mmm  — P fauToi^u- 
fM  fuiuvra^,  0 “Maw-  — P arau 

o o 

faai^yiwfnu.  N gj^M  fa°,  O nasr 

•O  o 

fe“.  — WT  S faMTS».  — 

PW  MlUa  ft®.  0 omits;  T MljP^- 
19'®  P firft,  WN  rj^  fi.  0 omits;  SU 
M-  — PO  utii^ifaM,  uu®ifaM, 
S nrfiM.  — ST  MTMftrftT. 


19'»  PNOT  a?M.  — SU  T uaa.  — 
WO  e»|lt<5.  s giT^,  TU  femd. 

S?  O 

19®“  P 6g|^rw,  S omits. 

19®'  TU  omit  f^. 

19®®  P omits  — P gruTMM^  ^ 
u®MuiftT3.  W “HMtlyi , SU  “5rft- 

V 

|TUT  — W IT3T  Tftt 

19®®  0 ggrru  UigT^jtrf  uftr- 
19®*  NOT  — P ra  Mtm^ftui. 

N °gMRur.  0 MfiiiialU  — P ma, 
N Msa.  O 5Moa,  STU  omit.  — P 
HftdUd,  N rfft^  Ud,  SU  ?Taft:M% 

u o o 

T rFftM-.  — P U5U,  w rr^M.  — 

O o 

P UW,  w ftrrMMaW,  T MD#.  — 
p ftj 

!9®®PWS^.  — 0 MTUM^.  STi: 
MTMM^-  — O rnrff  fa,  S trot 

o vs 

fe,  TU  uuft  — W MlrtHcct, 
STU  MTM“,  TU  «3oa. 

19®®  PU  omit.  — W g;u“  I # MMa  MT- 
urafe  I ^ ftrWfTr,  N gro-  3sr 

c. 


iv.  19]  [108 

— * • 27  A 28  * 

^ I ^ I ^ TcraTefa  g ^<idM  I 3fH^  ^ 

I FT  ^ "N  Frft^T  I I ^ 

^ I SOT**  I iwrftf'*  I ftrtiaTTirr  ^- 

Tir^  I ^arirm**  I fTT  M<yl  ri f^  I uraitu  qrofiraasTtaa*® ) 

^ f<<<^\tt^^<^!!ii,  551  nftigai  aw3T^”  i 

ufr*l'wfd*®  I 

ffftrra  g>in.Tr»jTtl  frasrTCT^ 

ct 

TT3?  I UtI  J y^rticw  “ I ?afT  «*uu«y(l“  I 

irraiFTss:  | ^ sinsft^Tt  fM  cnit^aiTOTt"  i 


sfidfe,  0 g!^°  I gj  j5ra  a<nil5f(j  % 
fdiatTrn- 

19^^  PNS  0 Tra?  fTCTO.  — NST 
TO.  — P Twrg,  N Tciv$mm>  0 
ToRfinraro* 

19“  S omits  g.  — PWNO  omit  ^°. 

19“  TU  omit  OT. 

19“  N omits  HT;  P adds  UTH-  — P 
FT^T,  W wrrfeasiT,  N ^ffagr,  O 
TWT  grfVcMtj , s T 

U — P fuftKTOi,  W *rarr, 

N fxi,  O 

19^1  PWXO  omit. 

19“  PN  5ffi.  — PNOT  _ N 

fafgH,  S TU  ifbi. 

19“WNSTQ  inrrfH- 

19“  N Wf?,  TU  omit  THS-  — P 
fijrfWT.  W fn^snin,  N ^RhSanin. 
O “gaTIir.  — PWNO  omit 
TU  “UTO.  — PWN  omit  1^.  — 


S adds  fTT  §T  , TU  it  g- 

19“  P WO  TTij?,  NU  nii?  S 
omits. 

19”  TU  omit  ht.  — U Unil  fk- 

o 

19“  S omits  nfksni;  T nsifr.  — PN  xn- 
«dri~idd1*j  0 ar*aw®,  STU  qrorw; 
0 adds 

19“  w %5rr.  — PS  omit  N H- 

o 

xg^aft.  — P 'Ijwra*  W °xin^,  N 
•cfctujna,  S fkwi^%  T «#gnir,  U 
— P WN  5»^,  STU 
omit.  — W firrosTi  SU  xrfij^sT* 

P , W a^TTraq,  N ware, 

0 amrftrwM.  STU  war^am- 
19^'  P omits  gfsrro;  0 vfkw. 

19“  S sk?.  — PN  add  V.  S ailds 
19‘^  P chMtifa.  TU  SU  add 

fifi.  — WO  anfuia'p? , S anfiiwnr. 
— P °aiinink  N -xraiTxiiTt,  S fe- 
anr^%  SU  -titt^.  T 


109]  [iv.  19 

tra?  I i;*  I ^ f^- 

I w[  nftrw''  I 

vi«c(M»^ : I Kt5"  I 

35?  fHtftJWffT 

Wt9T3^  • I rf  I 

C««l*<>3ul  riK«l>T4l 

Hirf  I wiq«TO:o  Hizwfrf  5?{nT!>wf  I :^1T  HlfTof^^TTI 

I *<4<|HH  ""  I ■smrftrRTW  ftrflF^  TTfr^fTwr  tt 

I I ^ ^ TT  ^3T- 

I yT«U«HiHHna5HlfiH*3  HTJrjFrm®’  I 3ltt  fllfl^R^T”  I 


I9‘>WNSTU  JiS.  — PNO  jfRifeij, 
W omits;  STU  3TS  T 

19^«  PWO  onr.  — P ggfarnj, 

WNO  S “3T^,  T ^mf^W3, 

U — PNSU  otwtitt#  (SU 

0^),  T amTHdiij-  — P aM?:’,  W 
SU  »3T=r. 

19««STU  555.  — PO  gife,  N 
STU  omit  wtar. 

O 

19*»P  omits  ig?;  WOTU  rTift.  — W 
i^raiTO,  ST  fHMimjj,  U — 

S 3T3trfH. 

1930  STU  omit  u^.  — P 5^,  W 

H 931  C|  ) N 331  Cl  , U 33t5g, 

S 35  fe  rrfl,  T ^ fg  H U 
^ ft  H gar.  — PWO  S 

5rft,  TU  giftaig. 

19'’*  S lifted  I ugddMtfd)  TU  3lft4iT 
fttaiidi- 

19'^'^  WOU  3^,  N TTS?  7T5n  g.  S omits. 


— "W  »5%  — N 3T35H:.  — STU 
giftcKT  dWi-  — s adds  ?g. 

C 

19'^'*  P grlT5®7]5T,  W ftfTgv5T55T,  N HT- 
fVftwui , STU  3rfr^5i.  — N ft- 
5rf^,  0 ftafttf,  STU  ftutd^tf. 

19^*  S omits. 

19^®  0 fiirfftiggfT5rftnrrT  ijfnir’ , S °ft- 
ijridtu,  TU  °ft^i5i7n.  — P fitrfeg- 
^gufr^ftrorr,  W ftrftft  ofinc  *r- 
U45II  t N fuifdii  ofryuicir,  STU 
fuifc<a<W5J.  — PO  3IUI5jf(i,  W 3 
HwnSOj,  N awwft,  S 3 snwY, 
TU  gftg  (T  553)  ^rftiaT  5T  ww- 
ft  (U  °5ft).  — P W 

w^r3t>|,  N imiTtaTt. 

19®®WNSTU  omit. 

1957-59  WXSTU  omit  — N ^ 

once  only,  ST  omit;  U gfl.  — W 
ftngftgsgi  ST  ftgr^ti3T¥  (S  °^), 
P ftgrgft^.  — PO  3 3,  W 3 
3gat  NST  omit.  — 0 nfiiraTi  S 

o 


iv.  19J  fllO 

vncii»i«Ti : I ^ ^RfRT3Tt  ^ I 

fTHJ  ufa^fn  rrSTT  fdaUcti : 

I 1=T^TTT3ITW''  I 

leri  qqj’FdHwufeiairTi^^ 

’ran  I ^ TOfTC13J-qT%f^ain  <^*TUfir<5<l 

I arf^  ai 

y*JiM*u*iiUu*H54«i  T?,«iml,  «)F3f^3ii“i  mn  ariOTfw- 

ftrSt  ^gjTfinsTO  I I 


nftresT,  U irfq^sTT.  — P a?rnT^,  W 
S war^arsT,  T airara^,  U w- 
arar^-  — W <’qfi^»,  N 'qcR^rrfe- 
S ^ntsnri  ufero  Hiwd° 

VJ 

TU  vdiU^iiic'uuS'il  widufa  nFc(q« 
cKqma^  — W HTO^raa, 

C\  ck 

TU  TTsff  fnwg°.  — W tiRfcKcidi  ^ 
N frft^at,  SU  ^rfr^,  T ?rfi:®. 

19*°  P g?ii  qrarcrfe,  W i^.  — AVO 
— WTU  omit  fa.  — PAY 
MRiejf.  — P wa,  NO  g^sa,  STU 
5^3  and  omit  a^fe. 

10*‘  T Fadq*»a.  — 0 mtOichi  a. 

a 

19*‘^  N omits  — AYNS  armrir  once 
only.  — PSTU  omit  JT^TTrarw. 

19**  N TTsn  snfqarr  afa,  TU  ?^giT  ra.  — 

AYO  aar  ar-  — AY  chvmatl  arr- 

6\ 

feKflyi  ftnTraaarff  instead  of  arf- 

faiff.  — P AY  »feqrj- 

frf^ar,  N aa^aarfMbtMT,  0 aa- 


T^aw  aggrfaar  a^,  STU  ’arfa- 
aar.  — P a^,  N airRur 
a^fear,  STU  omit.  — P 'asam- 
AY  =a5R°,  N faniT^aaiafadsI, 
O -aaaara^,  STU  f^krtaar*,  T 
'’am'’.  — N f^aa-,  ST  f^as».  — 
P utuardqi,  ay  uF<gai#^%  NO  »3fa*, 
STU  a^^°- 

19**  S a^,  TU  afe  a a^.  — ^ 
qaTpafirraagraT,  AY  qar  lauaqrar- 

o ^ c\  o 

fai^afaaT,  N oanuinii’,  0 ujqqi* 
urn’,  S aamunu”.  — BNOSTU 
^aai%  P araqf,  AY  af»ii*in  anaa- 
— BPO  aanaa  aarar,  AA^  ara- 
ftiar,  N agroraaraT,  STU  qafaar. 

o 

19**  P omits.  — AA^  5Tvn  a,  N grar  at 
0 g?VT,  SU  grsT,  T omits.  — 
STU  omit  par.  — B airqiqiaaai- 

oo 

fiiroQa,  AA’'  ait»n*nafinaqn.  N ra- 

oo 

wqwafqrgpiT,  0 annqiaafinTxjnin, 

O o vj  o 

STU  faarfnrrf  qaTafinsar.  — O 

oo 

agHgl. 


[iv.  20 


111] 

v9 

rf ^ ii!  ii ijj  1 ijj  ^fT5. 1 

■TO5,  imTSrs  Kw  ftri 

wfi  II  ^0  II 

%ira:  I sRrfiaaM'  I ^ra  a»Ifn!!3i"  I W3  >T?[m  «IIRW 

»!j  I wTffrrgitf^‘1 

infl  1 w%ai  nfe‘  I 

llWR»iy(l»i  SR^’  I 


20“  P °3iuiu«mi,  W Mwnafqcglm , Nj 
“Buiracnw,  0 *^«T,  T ■’n^rar.  — | 
WN  STU  fcdyriri- 
20**  BPO  5iu  sns,  T fT?  — B m- 1 
MT,  N nkw.  — BWNO  snfk. 

P fe 

20^PSTU  (P  wm%  PT 

°^<rt«jj°)  m(*j<i1  hw  — O xiy- 1 
fs-  — B jranit,  W jtot^,  N 
'^3,  0 'ii3.  — N fdfdH). 

20*^^  d«ri4u°,  N q?T<jg°.  — B 

P WNO  Ofadf^,  STU 

— PSTU  aniRit,  W 5TRT- 

v>  c\ 

f^- 

20'  B aRlfn*  I 5«KT^,  PN  gHifnid. 
20^  0 aaro  ^rea.  P 35?^,  T Rsa  — B 
gra.  PW  g!5,  0 omits,  S n- 

f^,  U naro  nf^-  — P H,  OSU 
omit;  T fiT^.  — P atrgma,  0 arr- 
^iiraf  HtiTR,  S anararj,  TU  armnii; 
S adds  fg;  5,  TU  f®  r. 

V>  "O 

20^  B fT^firaTO,  PN  crtnaw,  W jrgnir- 


uns<i(3l«!i  0 HeiidiMf  ST  ri«i(i«u>  U 
rT>nruj-  — NSTU  omit  fa-  — B 
gfrgfni,  PW  giiauj,  N gfrarm,  0 
grTfaarrg,  SU  faaiRTiT,  T faair?.  — 
B abrafa,  WOSU  faw^farfd,  T 
feirfearfa- 

20*  0 omits.  — S a.  — PWNSTU  R- 
g^fgft.  — P f^,  STU  fegrfa.  — 
WO  add  fqgaqw  (W  only)  ^ Ji- 
artnHtw^iijig^ftdCO  “garfcarO^^ir^ 
53  gregRTafn  (0  grcat^alH)  wfuiST 

O V.5  o o 

^ arfeoiTaT  gfijjmfd  (0  nfiii- 
wfe  • rt fo^giaf  • VitdiHd J I 

a®  (AV  only)  an  ht 

iT^maTw  f««T3vi  sratfaa  afe* 

O 

gar  (W  5iitfaaaif^°). 

20^  U omits  TT^.  — BO  omit  gR° 

O 

afn- 

20®  B gitiffa,  STU  omit.  — N ?raf-  — 
B uidf«i,  P ‘■•faara,  N laa#,  OS 
faatn°.  — PWNO  gre,  S g;.  — B 


iv.  20J 


[112 


MT3T51^  t I ^ fST<h3T^’  I 

trai  I TOi^#f%3nTt%jnRTn  arwa^w 
ar^raftt^^  ^ ^ aif^3nfTaT'"i 

iTOTTiwr  f»f " I «t  w«r  Tsfhj  nfiii  <i^;#  i 
fr^  fW  >kl  «hUJ<*HyC)i"  I 

TTift  frfcjtiidH'aMV^afrf^* 


erirfcT,  p gltfaj.  — PNSTU  omit 
fg.  — NT  g^"^,  0 gihz- 

o s» 

20^  BO  ^rgwfrfggr^^ , PN 

HI  fn  3W%  T ««h:- 

20MVO  W — B 3H3gTO,  0 3- 
sRgnaft  — B ^rfinra,  T Mjfi- 

20®  BS  omit  Hri^:  TU  — B 3- 1 
tmmn  MTO^ffrhtHrfeTidfH.  — PW 
NO  read  ar^raldH  fa  (0  omits) 
and  omit  H3TH’  arsat'’ ; S HaTH^- 
fHarwrftmw  arw^Hw  TU 
HH  W ft «« I FhH  aTT3UH«J-  — 

p 3T3fTJ,  o — PN  "g;- 

fasTHaft,  STU  °<*^3iril ; S adds  fa.  I 
— T iwz?. 

20'°P  wrara^  ftr  aro,  0 gjfrei,  STU 
as^ara-  — B P afnnm- 

fta,  N arfnairfta,  STU  arfmarra-i 

20“  O f^o  faf  HJHHum.  — UPWO  omit  i 


TO  Hsarfi^,  TU  omit  TO-  — S 
omits  fi^. 

20'®  ST  omit  wt  aaro;  B ht  aaror-  — 
N anW^,  0 aH^araaTOT,  S aa- 
T 3afta®,  U omits  an’-ara. 
— B nf3,  N JT^.  T nfa-  — B 
3TOT,  N afaaj,  0 aroSt  s omita; 
T arorfa.  — N ara,  S omits. 

20“  B a?H  TOM  arowata?; , W 
afena  totttj  anarwarfr  ^rfn 

O Cv 

a^  ui^yfrt  atroiaraf:,  0 to  a- 
r*c'4ij  t T aar^9  ^raar  t B Harai 
f^.  — N a?a,  SB  araag.  — P 
ihra.  N nfiiaaT,  SU  omit;  T aOTT’ 

c 

fjiduu. 

20'*  BP  ^ naf  (P  "fTT).  W 

rial  ^ananro  rana  as  Tfa  a* 
«f*ru,  N Tjfa  wan  w^  ^rTOca- 
arfe  afa  w^iai,  0 afa  awfsai 
arvi  w?aft  a,  S ^rsif  a-  wfawTSwr- 
TU  aal  etc. 


113]  [iv.  21 

I ftt"  I <in=^w5rd5  vi^«a«4sir< 

Tsrm5fR“  1^ 

Tran  I ^rwTsra”  i 

^ ^iqzan  fifftraW5'S5Tn!l  nPiT 

v9 

1WW  ^ p w»g  ti(l<r<<8n 

H ^<(laT  ii  m 

f^- 1 ^ 'SRtw  »rrafl^  r<»rt*^  ^ian«l^rat  ^ 
tter^'i 


20'^  B omits  w;  0 ^ aw  ma«Ti- 
5Tvq  f«^q*  ufa;  S reads  ^ 5R® 
uf^fH\A.  and  then  follows  a lacuna 
M’hich  a second  hand  has  filled 
out  as  in  U;  TU  ar®  I fs(t  ^ 
xrfiHwrart  fan  gaMn  (T  faat^- 
fe).  — SU  omit  ^-fa-  — B 
W 35ai?jnT  a|3T,  N ^ 
H^ffT,  T azat.  — P 
N wTat,  T war.  — W afe, 
T 

20^*0  gnef,  T ar^.  — SU  atcuiwjft 
fa.  — BPSU  qmaTiriaftljj,  w 
•war,  NO  oagiTf,  T omits.  — B 
POSTU  omit.  — B anraaf- 
ar,  P fkoai,  W war  amat  STU 
qiiwat  aa- 

20”  ST  add  waa. 

21 B a«M?fa3aia  *<rai  ^ gdffa  aarja- 
TTafaraaffarf^Tf  ^a* 


^ « fa  a fa^TTOvjq*^  N 

NJ  O V 

fad¥w>Ai*H  ai  afa,  o fa^aagai- 
arar  ^rfa#  S faferaa^jairaTar. 

21*’P  5,  N — PWN  irasar*,  0 
“nw^araafa,  SU  »afa- 

vj  vj 

21' ST  a^.  _ P ^ ^ *J^t<Tliqiiai, 
W ^ ai  W35  arhaarr,  N 
gai  a'sg’  aTTT^^ar  i 0 giarfa^  a aw 
a^afsror,  STU  arar  a^  (T 
aaj  arftfe^. 

21'^  T §.  — PNO  gdtfg.  — P a^ga- 
u*Tr^,  W gaal^fr<m,  NSTU 
aiar  (NT  g»)  aasTarnaf,  0 aaar 
aisai  trjrTT. 

2P  B wt  aara  i ar  arorfj  fsraaa  i ^- 
aa%  ararr  faarj,  P arafraTs  f^- 
owrt.  7>u  ly  wawlnla^  enltd,  W ^ 

O <o 

aaar  wrw^3  f«jgwH  ?aa%  ararr 

o u 

fiafuwjiH,  N »ft  gsrar  aragrfaa^- 
wasww^aft  fsxiKs  r?3Ta?  srata- 

o o 
8 


21*P  ^ 5jf  fg  arafaHTH  aia  aafa,  W 


iv.  21]  [114 

tT5n  ^ H Rjyfn  i •riftrarT  ffnsfe®  i trit  ferre  ^rtiis  irarre 

airer  I 

Q 


reKdqd , 0 gsTO  wroftaf^ 
faiTaiH  ej'gM  ijriwtnlsrft  (Vauiat , S g- 
8TO  qsgiftro  fdsy?  i 

(lacuna)  ci%$i)  | ^Bfftaiixrs  W* 

jT^art,  TU  gsTO  q^ffrt  (U  '5) 
^2E?fH  Hl'|g<s1  fe^T3  (T  *^)  oR^ 
OT3ii*Tier»?Jl  I H^ftaro^  5tt- 

TX^  ufi4;Wt. 

21^  B jjmnjf  HiAtifa  i smraffT  vpi 
I arraJ  fjuftOTT  fsr:a!THT, 
P HrnTOT  stictr;  i snfeta  fe- 
ll^ I uftam  ftftaiTHT  I Trar 
hS  gfdfk  ftrars  fsrara  ^ftrert  9- 
egfafa  qqngww^  fg^sa  ^ gg»g^ 

Mrgr  rTOT  ?TB  WHT  gg!  H^tTT,  W 
H1««I  •TT^tHh  "iiyettl  OMi«iTi^*al  I 

TTift  Hqftgm  fg:aTTrTT  I tjcgitu  q- 

qftqfJar  chuu^sfil,  N nsn 

cv 

wnn  ^TsgfH  1 •rrfeffT  ^*<»i  sit^“ 

riwial  fHtdfrf  I ara?  wfi^Ki  fa:- 

WTHT,  0 iioil  fWT  ehClfri,  s ?fH 

qfimufri* 

21®-24  BPW  omit.  _ N MTOT  I fe- 
01%  df^KOun  fegid  auraftafTO  1 

o 

ilsll  I iairaid  I OJTW  «ii«yaT  H 

o 

f%QT  I fo3  I «fr«4  ^<4  fo  *irifWi  I 

CO  sj 

WOT  I n^mw  ftR  ^ qqft  fe  fqar 
^qftfw  I TTsrr  stI^wt  sTot  ftoaf : 
CT^fa  end  of  the  ms.  The  trans- 1 


lation  adds  Ott: 

O O 

OFTJTT^teqftiftrarfefT:  wo:  1 oto- 
orfe  OOVTcTOTTOq  ■«thcifou<solt.«iul' 
OO  I HOlWHaJOrf  fTTOrT  I Wof  O- 
•TSO  05510T*lf  00:  TOWOT  0“ 

o o 

af^rii  fydjwi  «og  WTtROioo:  otot- 
I oot  riOfT  Tiforiwfa  o- 

VJ  o 

foo  Hwtfoo  woo  o)^  ohrorr- 

o< 

J gfeow  OW  wfH  foWH-  — 
0 w*  Traro  ofo  H waft  fauw- 
qwifw  TTOT  waro  WS  lUUIdtll  owt 
OgT  uftiud  WTJTTTaft  WOTTOT  q- 
wK«a  wqoj  Oflifw*:  qsfk  «T|fiuo* 
ot  jfta  fooiTs«|«o)  agw  am  ar 
waTorfwo  wt  ot^so  o o^  ^- 
feo  Hifiunl  wrf%OTW  qOrTT  WW3 

v>  00 

w«  ar  o oforil  o|[0  fe- 

WTwrgowr  oHtt  rran  fooi% 

fwofo  otftiw  Trfo  mn  ftr  tz  wfe 
WTdoann  q 1 for^  og^  aosrarnu 
WsihI  00ft  Toorrj  qqft  fiiiuj  fio- 
503  wt3  oworanift  waoifwirr  W50- 

o o 

5T  I w%t  W03  wfoaf  fq  wfwo 

V 

WwFwaf  ^aro  otaft  gfrgqTTWist  ^- 
fkare  vnd  wfij  mow  3wmwrfo- 

o 

fO  W ifiitrOtadTqi  ufogoaiHI  WOTT- 

Wdlfodl  osoT  qowfaqr  wo  wm 

O 

*OTwouwt  fTOTT^  o viaior^qg^ 

Cv 

WtO)  WWTWTfefTT  fiR  WW  OTtHh 
. • . » . 

T5fT  WWOT  WSOW 


116] 


[iv.  23 


«?ra  5icrf5raiT5?Rn 

I 5fT3T  I 

51  ^ frifflH  55^  ^nSPH  % 

^ ^ ■fMi  ^ qrartjFM^  i 

5T5  9*3  qKr)«n,  nrSPTO  iTTfiST 

• nO  s3 

t(»isaT  jSTORisiairftwr  ii  ii 

mciMTS : I aira  fti  ^ ftaj  I 

ran  t ^ -qt  fqi  ftaj’  I 5T^’  I 

55TT  ■ftrgTOnftf^ ' 

q5naiir  aifq  q*q%qasNl  atransm^nff 

qs  555  >rft.afr  5t  in^  ^a?5 « ??  u 

iTOT  fq  2;;  hI^'  i 

Mwqrtwq* 


21*  T ciHlf^9t<^<4i^  — SU  ?l^.  — 

Vd 

Mss.  Ift^r  — After  otw  T adds 

O 


ftraTTO^t 


♦li’STll. 


22‘T  ^ WTO  fHufiij-  — TU  w.  — 8 
Z (lacuna). 


22^  8U  ftsT  ^ (U  S).  — T gffhr^ 

22^  S qr  fiii  fast.  — TU  fq>  anir 

fe. 

22*  SU  omit;  T uat. 

23  8 omits. 


22**  8 gft 

22*  T ^ qrro  ?t,  SU  qrHwt-  — 
T — K Jin  fra  qirai  wr  n- 
qpnj  ^raqrarrarfHOT. 

22'*  SU  direro^,  T ^&u^.  — TU 
— K ?ftm^fi[rT5ieqtfinsrifr 
rnruls^Hi:. 


23' T — TU  oqa^.  — T sr- 

23^  TU  jifts.  — TU  wra.  K 5iwi^. 

23^8  — T w I ?rf«,  U 

fr?-  — T 52.  — TU 

« * ^ 


iv.  24] 


[116 


r<?i^«u<r5i*^  r«K«sj  II  II 

ftraiFrn:  si*  i 
araf^rafFTTOi*  i 


24TTJ  wngro^  jr^  ufmHwfett  wtw 
fasTT%  (T  fearrfe)  charw^^aT  fir- 

O 

^cmi(n«ar  5l5Rr-  — K as  S.  — 
S "fesre  f5T35“-  — T adds  ^rarr  sr§- 
^riqul  iiglfgi  <fclgc*inn<  fg^. 


24^  BS  omit;  0 ifif  TjfisRWl  f<i««in  it 



24*  B ^ 8TTJ  ^ Tiro.  — P 

WSU  qg». 


Part  II 

GLOSSARIAL  INDEX 


TO  TBK 

KARPURA-MANJARI 


BT 


STEN  KONOW 


GLOSSARIAL  INDEX. 


Abbreviations: — ta.  = tatsama.  — H.  = Hemacandra’s  Grammatik  der  Prakritspracben 
(Siddhahemacandram,  Adhyaya  VIII)  luit  kritischen  und  erlautemden  Anmerkuugeu 
herausgegeben  von  Richard  Pischel.  Theil  I.  IL  Halle,  1877,  1880.  — HD.  = The  Desi- 
namamala  of  Hemachandra.  Edited  with  critical  notes,  a glossary,  and  a historical  in* 
troduction,  by  R.  Pischel  and  G.  Biihler.  Part  L Bombay,  1880  (Bombay  Sanskrit 
Series,  No.  XVTL). 


»T  after  anusvdra  « [^]  and.  a,  i.  3’, 
5^  12^  17S  22‘,  23^,  26S  33', 

34d,33;  41^  53^  6',  9<*,  1D•^  23d, 

27b.  28%  30'. ',  31d. ',  40%  46%  50^; 

iii.  1',  3%  4®.%  6%  6',  8'.  % 13',  14', 
15',  17',  18*,  20%  21',  22%  25<i.', 
27',  31',  32';  iv.  2%  6',  9%  10',  18^% 
19«b. «%  ca,  L 1%  11',  18%  19% 
2015.  *«.  »».  »%  22*-  % 23*.  % 34*% 
35*;  ii.  6^*  « lo^,  23%  24%29%47'>.d; 
iii  3d. '%  5%  12',  18%  19%  20d;  iv. 
3',  18'*.'*.  ",  19®%  22*.% 

ararsee 

ai^  [arfti]  a vocative  particle,  0,  'pri- 
thee, ii.  6% 

[aifd^^]  very  long,  L 21% 
arv  [ara]  a vocative  particle,  0,  ah,  i 5*; 

iv.  19*9.  63^ 

am  ts.  a shoulder,  iv.  12*. 
amar  [ar^]a  garment,  cloth,  L 28b; 
iv.  4%  10». 


arf%  [ai%]  a foot,  ii.  47*. 

3T9!|mT  [m]  without  bracelets,  iii.  20b. 

unexpected,  sudden,  iv. 

18% 

untold,  see  jjw. 

ararf^TH  not  performed,  see  5m. 
aTcbid^iHe!  ts.  name  of  a man,  i IS®. 
ar^jJTts.  without  saffron,  iii.  26*. 

ts.  without  earrings,  iii.  26% 
ai5^  [“gr]  a letter,  i 20'^;  ii.  1*,  8% 
10% 

ar<a<ig  ts.  unbroken,  whole,  entire,  iv.  3% 
aitdfagd  [“h]  unbroken,  i 16*. 
anre  ts.  aloe,  iii  14b,  27% 
amr  [aro]^rsi,  foremost;  front,  fore- 
most point,  i 16',  26*;  ii.  6%  14% 
20*,  43*. 

amrgm  [nar^]forepart  of  the  hand 
or  arm,  i.  4*. 

arfrmrfbTT  [arfMaFtifi^iT]  arranging  of 
the  sacred  fire,  iv.  20'®. 


arfwrw  — 


[%rftrw]^rs<,  i.  29*». 

snvi  [sTOTj  a respectful  offering,  i.  4"^. 
srafesi  not  performed,  see 
STH  ts.  act  of  a drama,  i.  6'^. 

ST^ts.  a sprout,  shoot,  blade,  iv.  21'*. 
ts  a body,  limb,  i.  13*»,  14^,  20*®-  *®,  ®*, 
33^  ii.  10<=,  12“,  28®-  S 36%  41%  42®; 
iii.  8%  17%  19%  24®,  33‘;  iv.  7®,  13®. 
MIfUr  ["si]  a place,  courtyard,  ii.  47<*; 

iii.  20*®;  iv.  11®. 

[°!rr]  a woman,  female,  i 14®,  26% 
36-*;  iii.  IB"*, 
ts.  a finger,  i.  36'=. 

S3 

[*h]  without  sandal,  iii.  26% 
[arfo^H]  very  wonderful,  super- 

v>  VJ 

natural,  i.  21®. 

[sTf^rvjw]  exceedingly  inferior,  i. 
20% 

irsa^  [sTrarm]  exceedingly  superior, 
^ i.  20% 

«T^  ts.  clear,  transparent,  iii.  4®. 
snasfiraT  [«r*^]  marvellous,  wonderful", 
a wonder,  i.  24®,  25*®;  ii  42®; 
iii  3*®. 

•rfe?  [wf^]  eye,  i 16®;  ii  3®,  27%  41®; 

iv.  1®. 

not  produced,  see  sr. 
iTsar  [sisi]  to-day,  i 20®%  34®®;  ii.  1®, 
6*4-  23^  29®;  iii  3*>  \ 20®,  24®;  iv. 
9*%  18®»,  19®- ». 

traar  [airojaw  honorable  man,  master, 
i 12®,  20»-  **.  ®%  34*;  ii.  6®;  iv.  20®. 
araarsw  honorific  designation 

of  the  husband,  i.  19*,  34®®;  iv.  20®. 

[srwtra]  superintendent,  head 
ajjhakkhikidao,  iv.  9*®. 


[118 

wva-ats.  border,  end,  skirt,  i 26%  27®; 

iii.  3%  22®. 

ST^mr  [“5»]  coUyrium,  i 20®®,  26^;  ii  19*. 
see 

Cupid,  i 2®,  33**;  ii  O'*. 
[3R*]  name  of  a woman,  iv.  9**. 
auu^HTgi  name  of  a woman, 

iv.  9®. 

wiifgmt  [«Rf§5rr]  name  of  a woman, 
iv.  9®. 

snilRT  [sRo]  without  interval,  imme- 
diately adjoining,  i 12®;  iv.  18'*. 
arfiiR  [arfaar]  wind,  i 16^,  17**,  20<=;  iii. 
20®. 

awaiTT  [sT^*]  resembling,  iii.  25%  28**. 
wgiui  [«ga?]/avor,  iv.  23'*. 
snnarsT  [w^*ro]  conciliation,  i 20*®. 
«^asrB[sTgferen]  day  after  day,i\.  24*. 
sntrasy  continuity , sequence,  iii 
26‘. 

aRmsT  [%RTm]  love,  iii  12®. 

STWTT  [ara*]  conformity  to,  ii.  31®. 

«na  [sRi]  other,  a^no,  i 20®®;  ii  6®, 
29*®-*®;  iv.  18®*.  a^na,  i 4®.  an- 
Xiam,  i 18%  20®-®*;  ii.  6®*-®«;  iii 
13%  14%  16'-  ®;  iv.  22*,  23'.  annam 
ca,  moreover,  i 18%  20®*.  apne- 
na,  i 27'*;  iii  19'.  appe,  iv.  2*. 
appa,  iv.  13%  16®,  17%  appSpam, 
i 1®. 

“wa  [arojear,  see  w[aTaa]. 

[apat^a]  each  other,  iii  9®;  iv.  10®. 
aR-  [anr»R]  s^,  oneself,  appa,  i 8*. 
attapaam,  iii  4*,  8*.  attapo,  ii 
10";  iii.  20®. 


119] 


Mr?i  [ar^j  object,  meaning,  i.  8®,  20’-  ^ 
[arw]  the  western  mountain 
bihind  which  the  sun  is  supposed 
to  set,  ii.  50*^. 

sTf^nnff  ['HrwMl]  an  assemblg-room,i\.3K 
that,  gander,  amuna,  i.  26**, 

wrafiiri^jT  [MfrffHgtu]  very  clever,  ii.  29‘®. 

trfkwrrrfe-  [arfHfidifu*!]  very  burning, hot, 
ii.  4P. 

wfkftrfwT  [arfFrfijftiT]  very  cold,  iL  41®. 
[sflrr?]  wet,  moist,  iL  11'. 

%T^  [ary]  half,  half  portion,  side,  i.  26®, 
28  ; ii.  42". 

M^SunrfRT  [aryHiHuH]  Qiva  as  half  fe- 
male, i.  28\ 

[arSi^]  half  asleep,  ii.  50®. 

Mvi  [ar«i]  now,  then,  ii.  IP.  adha  im 
[atha  kim],  what  dse,  yes,  cer- 
tainly, i.  4*^  21®;  iv.  19^®.  adha 
va  [atha  va]  or,  or  rather,  i.  18‘®, 
30^^.  Cp.  an?. 

end,  i.  14**;  iiL  2®;  iv.  9®-®-*°'**. 

M^ts.  interior;  interval;  different, 
another,  i.  7®,  12®,  29«  **,  34®®,  35®; 
ii.  1®;  iii.  3®;  iv.  182^,  19®®,  20*«. 

WTiftd  [‘r(\gone  within,  hidden,  ii. 
43®- 

arsavnr  ts.  without,  except,  i.  34*®>  *®; 
iv.  18®®. 

['Ot]  inner  apartments,  harem, 
i.  34®®;  ii.  11®;  iv.  9*®. 

sprit  [sptIt]  internally,  within,  iii.  10®, 

12*. 

'5P5  ['aRf]  the  moon,  muliaanda,  ii,  17®. 

sptftri-  to  swing,  wave,  shake,  ando- 
lia,  L 17®.  andolida,  L 16®. 


ar^gt^  ['st]  swinging,  ii.  36*,  37®. 
apviaiR  [°*TV]  darkness,  iii.  22®. 
arosa  [arro]  not  having  existed  before, 
quite  new,  wonderful,  i.  25®, 
34®\ 

aro-see  am-. 

amm  ts.  a woman,  i.  16*;  iv.  7**. 
aTSMranr  [a^wra^]  request,  iv.  23'. 
arwar  [ar^rr]  wonder,  i.  26**. 
ars^iur  [arwam]  rising  from  a seat  in 
honor  of,  iii.  20*®. 
aTHJJiT  see  ar^. 

amt^  [‘5t]  not  bewildering,  iii.  26'. 
ana  ts.  water,  iii.  4*. 
amr%  H.  4.  284,  a particle  expressing 
joy,  i.  34®®. 

amnH.  2.  208.  a partide  expressing 
surprise,  iii.  20*®. 
amfrfrn  [anm^]  like  me,  iv.  2®. 

°sn  [gn]  causing,  performing,  L 16®, 
34®®;  ii.  28**;  iv.  24*. 
am  to  honor,  praise,  accemi,  iii.  22**. 

accido,  i.  34®®.  accida,  ii  6*®- 
amsT  [°9i]  a curl,  lock  of  hair,  i 26*; 
ii  20*. 

smaiii  ts.  decoration,  ornament,  i.  31*; 
ii.  24®. 

anr^^ar,  see 

srasra  [*ira]  a limb,  L 33';  ii  48*. 
ami^  see  h 4-  sra. 

amfOT  [°nn]  state,  condition,  ii  8®,  9*. 
wadrrfd  see  h + am. 
arafsrmmt^  ts.  name  of  the  wife  of  Rd- 
jagekhara,  i.  11®. 
srar  [anrt]  another,  iv.  12*,  18*. 

[aiviifda]  name  of  a poet,  i 8®. 


— 


ts.  occasion,  turn,  ii.0®,47^;  iii.26^ 
arg^nn  [°5t]  stopping,  end,  iv.  10*. 

[°TOT(]  necessarily,  iv.  18'^ 
arfe  [arfii]  and,  also;  though,  L IS  3S 
17S  22S  26S  331 ; iL  4S  5S  27S  29s 
30S  31';  iii.  IS  6S  8S  13S  14S  15S 
21s  26S  27S  32';  iv.  6S  9S  19«S 
23-=. 

aif^tuld  immodest,  insolent,  iii  8S 
vm.to  he.  mhi,  i 29**;  ii  28^;  iii. 
37,9.11,  18.  1917.63^  20'S  si,  ii. 

6'S  11';  iii.  22<i;  iv.  2®,  20'S  at- 
thi,  i 25<i.S  34®;  iii.  9S  13s  14<i, 
16';  iv.  9^'  ®,  18'®.  santi,  iv.  21*. 
asi,  i 18’'>®. 

amr  ts.  a demon,  ii  SI**;  iv.  19*. 
ar^ar  [°aitgR]  a tree  with  red  flowers, 
Jonesia  Agoica,  i 20^*^;  ii  42®', 
43*,  46',  47*. 

areltj^u  [aninnirjnoi  drying  up,  not 
withering  up,  iii  26'. 
an  ["?i]  then,  ii.  3S  Cp.  an- 
an  I abam,il3',16',18'.S  20"-'®-®®-''', 
3415, 30, 38.  06^  28S  32S  41«;  iii. 

3'5,'®,  41.4^  349.  iY.7',  18^*.  ham,  iii. 
7S  mam,  i 20'®>“,  28®,  32S  34®®-®®; 
iL  1*';  iii.  3*,  20'S  34®.  mae,  i 25®, 
34®®;  ii6'S8®,  24®;  iii  S'-*;  iv, 
18S  majjha,  i 16';  ii  40®;  iii 
23*;  iv.  21'.  mama,  iii.  4®.  ma- 
ha,  i 18®,  19S  20®®.  "S  25S  30S 
34'®;  ii  3',  6®®,  8',  9',  29'®.  ®',  42"; 
iii.  24>>;  iv.  19®S  me,  i.  18®,  20®®-  ®®, 
34®-'®;  iii.  2S  3?,  16®,  20d;  iv.  2'®. 
arahe,  i,  16®,  34®®,  36'.  amhanaih, 
i.  4®,  19®,  20®®.  no,  i.  1'. 


[120 

anrs  ts.  a particle  implying  sorrow  or 
surprise,  alas,  i 25'®;  ii.  42S 
arfenar  [arfinra]  acting,  gesticulation, 
iv.  15S 

ar%nra  [arfwsra]  new,  original,  iii  31'. 
arfet^arr  [aTfvit^]i>residin^  deity,  ii 
48S 

arfewrar  [aTfiroro]  intention,  ii48' ; iii  8S 
ar%5  [arf>ro]a  king,  i 12*’*®;  iii.  5®. 
ant  ts.  a particle  expressing  surprise, 
i 29®;  ii  29®',  42®>®;  iii  4®,  31'; 
iv.  0®,  9'®,  19®®. 

ant^  [ant^]  having  the  face  down- 
wards, ii.  13S 


ajT  [am]  a particle  expressing  pain  or 
anger,  i 18®,  20®®;  iv.  2®. 

^ prep.,  to,  xintil,  iv.  4*>  S aannam 
[akarnam]  up  to  the  ear,  ii.  6S 
amulam,  to  the  ground,  i.  4S 
3irarf|aTsee 

arranrir  [amjrn]  a sanctuary,  altar,  iv. 
18®®. 

airarr  [an^]  attention,  care,  i 13'. 
airaTT  ['’afrt]  see  cmwiarr. 
airarmar  [°w^]  HD.  1.  75.  impatience, 
longing,  ii.  10®. 

am  ["fA] first;  beginning  with,  i 1*; 
iii.  10*. 

airai!  [°3^]  weapon,  iii.  26'. 
amwu  [°5t]  coming,  return,  iv.  19®*. 
arnnrits.  show,  display,  ii  24S  32S 
47';  iii.  12®. 

amraftr^TTTH.  2.  159.  ostentatious,  im- 
posing, ii.  31*. 

am^H.  2.  138.  applied,  iv.  9". 


— ^ 


121j 

sininii  [°^]  mouth,  Jace,  ii  1',  30*;  iii. 
3‘,  16*. 

wnpOTT  pleasing,  delighting,  iii. 

28^ 

Mindfk  see  ^ + MT. 

HTUTT  [°wt]  an  order,  command,  L IS**. 

ts.  disease,  pain,  iv.  7^. 
smro  [°^l]  an  order,  command,  ii.  42'^’“^. 
KO^  + ato  get,  obtain,  arrive,  patto, 

i.  13'*;  iii.  4'’.  patta,  L 20‘*;  ii. 
28*.  pattammi,  i.  35'’. 

^0  complete',  to  arrive,  come,  sa- 
matta,  ii.  44<*. 
wnw  ts.  beginning,  i.  12\ 

WMSM  ts.  a basin  or  trench  for  water 
round  the  root  of  a tree,  i.  34'“. 
[°st]  embracing,  ii.  1',  43*,  44'*. 
WT^ts.  row,  series,  ii.  11';  iv.  21'*.  . 

ts.  line,  row,  range,  i.  4‘,  20'*'  ®>  j 

ii.  16*,  31*,  32';  iii.  26'*;  iv.  2‘®,  21'>. ' 
wrfagt  ts.  turbid,  greasy,  L 13*. 

sf»T^  [°7t]  entering  into,  devotedness, 
passion,  ii.  1*. 

ww  [°*t]  a seat,  L 21®,  24*,  34*;  iv.  19®®. 
MTHW  a hermitage,  i 17*. 
jurarr  [“Tn]  hope,  ii.  S'*.  | 

wmun  [«w]  an  ornament,  L 20®®,  28®; 
iv.  10*,  14^,  19*®. 

«r«T  [°wr]  light,  appearance,  ii.  41*’. 
iRnimm  [nrnirai]  a proverb,  iv.  20®. 


^ to  go.  ei,  iii  lO**.  edu,  ii.  0*. 

+ w<o  come,  edi,  iv.  19®.  enti,  i 
15<*.  ehi,  L 12*,  34*-®®;  iii.  20®. 
entI,  ii.  31'*. 


see  arv  ?. 

irar  [^fn]  H.  1.  91.  thus,  i 9^;  ii  22*, 
40*. 

Tdrsee 

^rrats.  thits,  i.  18',  33';  ii.  41'. 

^:^tkis,  that,  aam,  il.  46®;  iv.  18*®. 
iam,  L 4®,  26**,  35';  ii.  29*®;  iv.  18*®, 
19*®>  **•  ®®‘ ®*' *3.  ipaiii,  ii.  27<*;  iii 
8*.  idam,  i 24* ; ii.  22*,  28*  ;iii  20'*; 
iv.  2*,  19*®*®*,  23'.  imam,  ii.  29'. 
imina,  L 12®,  28®;  iii.  19®,  34'>-». 
assa,  i 10*.  imae,  i 34*.  imie, 
ii24';  iv.20*.  imia,  L28®.  ime,L4*. 
ima,  iv.  14*.  imau,  iv.  11*.  imao, 
i.  343®.  imiu,  iv.  10®.  imEpam, 
i.  7®. 

[^TfTT]  another,  1.  4*. 

^ [^r?w]  hence,  this  way,  further,  iL 
0®,  41®;  iv.  10*,  22®. 

Ty  [^]  here,  i.  14®,  20®*,  26*;  ii.  29*®, 
41®;  iv.  18®®,  19®.  Cp. 

jugglery,  iii.  20*®-  ®*. 

^^^m^the  same,  ii.  44*;  iii.  12**. 

^s^Tarts.  a blue  lotus,  ii.  3'. 

^ts.  the  moon,  ii  1*,  29'*,  30'*,  41'’; 
iii  1',  32*. 

^ ts.  like,  as,  as  it  were,  iii.  20^  28*. 

?xjfo  wish,  icchami,  i.  24®.  icchai, 
i 11'’.  icchanti,  ii.  28**.  icchida, 
i.  3435. 

+ search,  annesladu,  i.  20**. 
annesidmi , iv.  19®®. 

+X(to  dismiss,  send,  pesehi,  L 343®. 
pesedu,  iii.  34®.  pesiam,  ii.  7®. 
pesida,  ii.  6**.  pesida,  iv.  9**, 
18®*. 


— 


^ts.  here,  i.  7*';  ii.  48*;  iii.  13',  16', 
17*;  iv.  2*.  Cp. 


4^+^to  neglect,  overlook,  disregard. 

uvekkhiadi,  iii.  20^. 

+vtto  see.  pekkhami,  iii.  20^®.  peccha, 
L 14'*;  iii.  32^  34*’;  iv.  lO**.  pek- 
kha,  i.  18®;  ii.  43®,  44*.  pekkha- 
du,  i.  16®.  pecchantinam,  ii.  30'. 
pekkhidawaim,  iv.  9*®. 

[°^],/em.  “SI,  stcch,  L 18®,  20®®-  ®®, 
34*^;  ii.  45*. 

[€wf]  slightlg,  iii.  23*.  isisa,  L 14**; 
iii.  4®.  Isisi”,  ii.  1®. 

[»vg?:]see 

[iwfdiiJieailotts  anger,  i 4*. 


3ts.  an  expletive  partide,  iii  13*>, 

14*.  b 

3STT  ['S^]  the  hdly,  ii  1**. 

3snr  [°3nc]  noble,  exalted,  i 19®. 

proper,  14®;  ii  10®;  iv. 
19®. 

heap,  muUitiide,  L 19*; 

iv.  18®®. 

H.  1.  58.  the  same,  iii  1^. 

^to  sprinkle,  wet,  moisten.  akkhi&- 
pam,  iv.  8'. 

ts.  high,  elevated,  ii  31*. 

["qja  collection,  heap,  i 28*;  ii 
21*;  iv.  10*. 

[ V withering,  ii  10*. 

[3r5”]  lo>Pi  interior,  ii  29*;  iii. 
27<*. 

gggRT  [4»jriqH]  bright,  shining,  beautiful, 
i 34'*;  ii.  40%  41*;  iii  4®,  27*. 


[122 

[°zn^]  pleasure-garden,  park,  u. 
6®®;  iii  22®-  ®;  iv.  18®®. 

directly,  straightforward- 
ly,  i 20*.  ®®. 

light,  lustre,  iii  24®,  26*. 

3T  ts.  a star,  udusamaa,  evening,  i 36®. 
f4.gr  [“h]  terrified,  ii.  29*’. 

*3^  again,  however,  i 4®-  *®-  *®,  6^ 
16®,  20®.**.®®.®®.**,  28®,  33®,  34®®; 
u.  1',  6®*,  8®,  10®,  24®,  29*,  32®,  41®, 
42**,  43®.  **,  48®,  49®;  iii  8®,  9*,  16®, 
33®,  34®;  iv.  1^,  2®,  6*,  7*,  9*®,  19*®. 
Cp.  uiift. 

[3^]  high,  devoted.  Hi.  16^ 
[3«*n]  hot,  tvarm,  ii  11*. 
ts.  crest,  chaplet,  iii  29*;  iv.  7*. 

3rRt8.  northern;  accompanied  with, 
consisting  chiefly  of,  i 18*;  iv.  9**. 

[’’'TuSihTI  the  12th  lunar  man- 
sion, preceding  Basta,  which  word 
means  also  hand,  i 20*®. 

4T<rwr<n  ["^51]  the  21»t  lunar  mansion 
preceding  Qravana,  which  word 
means  also  ear,  i 20®*. 

[*q]an  upper  garment,  i 34®; 
iv.  20*®. 

^rmii  [“’Rt]  stretched  out,  conceited,  i 19®. 

3ttth  [3grTF]/ear,  terror.  Hi.  7*’. 

3ft?  [Tftii]  speech,  expression,  i 8^  20*; 
Hi.  31*. 

3^ts.  lofty,  high,  tall,  ii  29*®;  Hi.  7'. 
[g^rwr]  raising,  i 18*’. 

[°Ta]  place,  region,  H.  42®®. 

groftr  [jrqftr]  birth,  origin,  i 34*®. 

3013  [3703]  a blue  lotus,  i 34';  iv.  7^ 

3ftiT3see  V Caus. 


123J 


[^r^”]  opened,  swollen,  i.  20**. 
difwfrai  HD.  1.  127.  Jem.  tI,  afflicted, 
dejected,  ii.  9'. 

'jsg|in  H.  4.  101.  emerging,  rising, 

ii.  31<*. 

3rf®T5srfe  see  fw?r + 33* 

3WT  ts.  name  of  the  wife  of  Qiva,  i.  24'. 
drunken,  mad,  iL  2**. 

O'  ' 

unsealed,  opened,  ii. 
47». 

[itwsi]  heat,  iv.  1‘. 

[°»fij  a female  snake,  i.  20*. 

355TH  ts.  tport,  play;  splendor,  ii.  47'>; 
iv.  22<*. 

[“•ftR]  shining,  i.  28'>. 

OTamn  instrument,  means,  iv 

918,  19^®'  **. 

[3trerr*]  procedure,  (remedial) 
treatment,  ii.  41®,  42®- iii.  19®. 
OTsgrjT  [^nrwra]  teacher,  i 9*;  iv.  20®-®. 
33WT  [3tt]  resemblance;  as  last  member 
of  a compound,  like  to,  i 32'’; 

iii.  lO**;  iv.  9**. 

[jq«M]  comparison,  i.  30'. 

OTfr  [3x1°]  above,  over,  ii.  20^  33*;  iii. 
3®;  iv.  9®®. 

otiH.  2.  211;  HD.  1.  98.  see,  lo,  ii. 
60<'. 

[3§^]H.  4.  223.  oveiflotving, 
iL  l^ 

3W3T  [3wr]  both,  iL  18*,  42®‘;  iv.  2*. 


[^sm'‘]festival,  pleasure,  i.  IS**,  16®, 
18d;  iv.  21®. 


— Vritl 

3TRST  [3r«q!]  desirous,  eagerly  expecting, 
ii.  40®. 


% Caus.,  to  give,  offer,  appenti,  ii. 
38'*.  uppiu,  ii.  lO**. 


5jp  [^]  one  ekka,  L 26**;  iii.  26“*;  iv. 
l^  2*,  7**,  9<*.  ekko,  i.  18*,  20"; 
ii.  6®®;  iiL  17'.  ekka,  i.  4®.  ek- 
kani,  i.  25®,  26'.  ekkena,  i.  24', 
27*;  iL  6®®;  iii.  4®.  ekkassim,  L 
20®®.  ekke,  iv.  2*. 

[qqjw]  near,  ii.  8**. 

qipfviTT  [xJShfwTi]  the  one  or  only  friend, 
ii.  SO*. 

qjTJRl  [qqrr'’]  a single  string  of  pearls, 
L 20®;  iii.  B®,  6*,  20®. 

the  being  one-by-one. 
•ae,  one  by  one,  singly,  iii.  5*. 
HD.  1. 145.  one  another,  iii.  10®. 
qm  ts.  a black  antelope,  ii.  21*’. 
qrng  [^nn®]  the  moon,  iiL  28**. 
qqnirrf%  [°;nfVT]  musk,  iL  7*’. 

^firg  H.  2.  134.  here,  now,  L 14',  20'; 
ii.  43*. 

im^  this,  that,  esa,  L 4*®,  28®;  ii.  27*; 

iv.  3',  7<*,  20**.  eso,  i.  4®,  28®-  ®, 
34®S  iL  6*®-  ®®,  43*®,  46*;  iiL  8®,  20*®, 
34®- »;  iv.  18®,  20®.  esa,  i.  20®-  *®- «, 
28®,  30**,  32',  34*-  ii.  6*®,  8®, 
10®-  3,  41'-  8;  iv.  9*S  18**-  ®«,  19®*-®®. 
earn,  L 5*,  ll^  35*;  ii.  8'.  edam, 
L 4**,  5®,  31*,  34®;  ii.  6*,  10®,  29®, 
41*,  42*,  43®;  iiL  9*,  12®,  34®-*;  iv. 
5*,  188.10.  27.34.35^  edassa,  i.  5®, 
28®-  ®.  eai,  ii.  40*.  edae,  i.  31*, 


33^;  ii.  9\  10\  ee,  iv.  4**.  edaim, 
ii  8^  edahiiti,  iL  10®.  edanam, 
i 34®'*” 

^stH.  2.  157.  so  mmh,  so  great,  ii. 
6'®. 

5r«i  [%r^]  here,  i.  12®,  25®,  34®;  ii.  8®,  9', 
44<*,  47'.  iii,  12®;  iv.  5',  18'®. 
etthantare,  in  the  meantime,  i.  29*'. 

^itirary  [tjfTgaw]  being  in  that  condi- 
tion, i.  34®®. 

5^  [(jeiwg]  H.  1.  271.  just  so,  ii.  49»; 
iii.  9®. 

Trfira  [irai]  such,  iii  21®. 

ts.  thus,  so,  i.  18'®,  20'®*"*®®*®®;  ii 
6',  40',  50®;  iii.  3®,  8®,  16';  iv.  4', 
18®®,  19'®*'®. 


[°is]  lip,  i.  13»;  ii.  41*. 
see  ST3. 

«f^3»iTTfe*nr  HD.  1.  164.  a female  ser- 
vant, ii.  9',  28'. 

[*rra]  H.  1.  82.  wet,  moistened, 
juicy,  fresh,  new,  i.  28®;  iiL  1®; 
iv.  4%  7®. 

srt^TJ  [afravi]  a medicament,  iv.  6*'. 


w«7?Tf  [eR^°]  the  plantain  tree,  ii.  14®; 
iv.  18®. 

we  a poet,  L 1“,  4'®,  5®,  6®,  8®,  9*, 
10*  20®. 

wenm  [wf3r3]i9oe<ry,  office  of  poet,  i 
19®,  20®. '®,  ii.  10®. 

a king  of  poets,  a ho- 
norific epithet  of  a poet,  i.  11*. 
wevTsT  [^fferra]  the  same,  i.  9*. 

UT3  [W3]  a sacrifice,  i.  24®. 


[124 

[9!^]  hard,  rough,  mercUess,  i. 
20'®. 

ts.  a bracelet,  L 18'®. 

HD.  2.  12.  the  Agoka  tree, 
L 17'. 

[WT3]  glass,  crystal,  L 20®®. 
wgw  [wra]  work,  affair,  business,  ii.  6®, 
28',  29'. '.  ®. '®.  kuh  kajjam,  what 
is  the  use  of,  ii  28*;  iii  1®,  12®, 
19'. 

wswHts.  lampblaek,  used  as  a coUy- 
rium,  i.  20';  ii  23»,  41®,  46*;  iii 
33®;  iv.  14*. 

W535I  [*i»dST]  gold,  i 32*;  ii  12®;  iii.  1®. 

name  of  a 6ard,  i 16®; 

iii.  26'. 

cF535TWTfn  [*i'wd^»]  name  of  a woman, 

iv.  9'®. 

[chlVdHijM]  mount  Mem,  ii  15®. 
SF5^  [BiWi]  name  of  a town  in  South- 
ern India,  Conjevaram,  L15*. 
355^  [wre^]  a girdle,  i 34*;  ii  15*,  23% 
34®,  iii.  18*. 

wsgftrMT  ['Wt]  a bodice,  i.  20'. 
wfssm  [wrfsaw]  sour  gruel,  ii.  29". 
wz  + v^to  show,  display,  manifest,  paa- 
dei,  iii.  12%  17**. 

weara  [wzig]  a glance,  a sidelong  look, 
i.  29*;  iv.  24®. 

wfe^HD.  2.  52.  a doth  girt  round 
the  loins,  i.  27^. 

a girdle,  i 20®. 

see  W^- 

W5I  ts.  a drop,  iv.  8'. 

gjTiTH  [ciRwJ^oW,  i.  20®;  iii.  22®;  iv.  9'®. 

gitn^finar  tinkling,  ii.  32®. 


125j 


(hfuil  youngest,  ii.  6“. 

[“9R]  a thorn,  prickle,  sting,  iiL 
24*;  iv.  21*,  22**. 

«rots.  the  throat,  i.  16^  20”;  ii. 

2*,  17*;  iii.  2%  6^  20^;  iv.  17*. 

[aKT°]  an  arrow,  L 16®;  iii.  IS**. 

to  excavate;  carve,  sculpture. 
•riuna,  iii.  17<*.  According  to  0 
utkirya.  C^.3/arcU^t,kamdaranem. 
93^  [-Iff]  ear,  i.  20^“,  32*’;  ii.  27*;  iii.  20®. 
9W355T  name  of  a city,  Ka- 

nouj,  iii.  6®. 

[<«jj]ui]  an  ornament  worn  in  the 
ear,  an  ear-ring,  L 14®. 

[9rit]  a young  girl,  L 25*. 
w^TE?  [cfcinf'dTl  a Karndta  woman,  i.  15*. 

[gRwfr«r?i]  an  ear-lotus,  L 34*. 
diwftw  fenT]  musk,  i.  18'®,  34®». 

Ok  Oi  ^ 

^ to  teU,  say.  kadhemi,  L 32*;  iv. 
9*.  kadhehi,  ii.  11®.  kadhedu, 
iii.  2®.  kadhesu,  iii.  16®;  iv.  18®. 
kahijjau,  i.  5*.  kadhiadu,  i.  34®; 
iii.  3*.  kadhido,  ii  41®,  50®.  aka- 
dhida,  i.  28*.  kadhidani,  L 5®. 
qrvi  [sroJi]  how,  why,  L 18'®,  30';  ii.  1®, 
6'3. 21^  403;  iii,  10',  22*;  iv.  2". 

Op. 

wretchedness,  imbecility  {K, 
karpanya),  i.  19®,  20®* 
wfjfr  [^*]  loveliness,  beauty,  ii  27*’,  30*’. 
tirats.  a root,  bulb,  garlic,  iii.  28', 
29*’. 

1F3TIJ  [*n]  Cupid,  L 16®;  ii  40*’,  41**; 

iii.  28*. 

[“Sinl]  name  of  a woman, 

iv,  9". 


[°ff]  richly  or  suddenly  produ^ 
ced,  i.  16*. 

H.  2.  159.  shooting,  sprouting, 

iii.  28*. 

the  plantain  tree ; a new  shoot, 
sprig,  ii.  14*’;  iii.  20*;  iv.  7*. 

HD.  2.  9.  a blue  lotus,  iii.  3*’, 
[“rui»«]  end  of  the  world,  uni- 
versal destruction,  iv.  19‘. 

['■^]  camphor,  i.  17*’,  29',  34**;  iii. 
28*;  iv.  5*. 

[9f5*]  name  of  the  heroine 
of  our  play,  L 34®°*  ®*;  ii  6®*,  28*, 
29‘-®,40®,42'®.'®;iii8*,20®*,22',31'; 

iv.  9®,  19®'  *®'  »*«  ®»'  **•  *».  ®®,  20'*> 

atw  [a;-]  succession,  regular  course, 

manner,  iii.  4®,  5^  25'*;  iv.  3'. 
aiw^ts.  a lotus,  ii  ll**,  16*,  50*;  iv.  22^ 
aRWOT  ts.  a name  of  Lak^mi,  iv.  24®. 
adw-  shaking,  agitating,  i 17*. 

awT-  ['^]  action,  performance,  iv.  16®. 
a»w(u  [arraui]  magic,  witchcraft,  ii  26®. 
ai^ts.  hand;  ray,  beam,  ii  16‘,  42*; 

iii.  20*,  24®,  25*. 
a^  ts.  a box,  iv.  9'°. 

aiwts.  doing,  making,  ii  6'®;  iv.  16®. 
aitftiEwr  ['aiT]  a small  box,  iii  5®. 
chOTR  ts.  a sword,  iv.  9®, 
aiVRts.  gaping;  terrible’,  fern,  a ter- 
rible form  of  Durgd,  i 18®,  20®*; 

iv.  16*. 

a>ufHST  [r]  made  terrible,  iv.  2®. 
aift-  ['fbf]  an  elephant,  ii.  6'°. 
aR  to  hold,  do,  notice.  akalia,  i 2*. 
kalida,  iv.  9'®. 

["ftfCT]  the  cuckoo,  i.  16*. 


^ - 


[126 


gv5r|j  ts.  stain,  fauU,  iiL  10\ 

[°sn]  doing,  ■putting  on,  iii  28'; 
iv.  4®. 

ts.  rke,  L 19*. 

qigrtg  ts.  the  Kadamba  tree,  iii.  24*. 

[°^]  ct  ■water-pot.  thanakalasa,  a 
breast  like  a water-pot,  ii.  24'*; 
iii.  7**.  thanakalasini,  a woman 
having  such  breasts,  ii.  23**. 
ts.  a swan,  iii.  23’’. 

5F^  ts.  1.  a small  part;  a digit  of  the 
moon,  i.  4'’;  ii.  10',  46*;  iii.  25**. 
2.  any  practical  art,  ii  27'. 

[°giT]  a flower,  bud,  ii.  27*;  iii.  1*. 
[“!Tt]  name  of  a woman,  iv.  9^ 
ts.  body,  iv.  22'. 

[“rrf]  name  of  a woman,  iv.9*^ ' 
[°5^J  a river,  ii.  3*. 

[°!f]  eating,  swallowing,  i.  20'*. 
ai<afaaT  ["fr]  eaten,  chewed,  iii.  2**. 
gram  [°iim]  the  skull,  iv.  19*’. 

[grfq“]  name  of  the  Vidu^aka,  | 
i 20‘-  34*;  ii.  27*,  29*;  iv.  20®. 

g<^  [°xft5T]  the  cheek,  i.  32**;  iii.  33’’. 
grea  [gnsg]  a poem,  poetry,  a Kdvya, 
i !<*,  S\  19®' ^ 20*- «;  ii  4'. 
gra  to  rub,  test,  try.  kasiadi,  i.  18*®. 
gfli  + faio  open,  bloom,  viasanti,  ii 
43». 

g>iraf^w  [gran^giT]  a touchstone,  i.  18*®, 
19^ 

grarar  [grara]  red,  affected,  iv.  23*. 
gi^  [gran]  how,  iv.  1*,  3**.  kaham  pi 
[kathamapi]  somehow,  in  any  way, 
ii.  39®;  iii.  32*.  Gp.  grd.  | 

gjf^g  H.  3.  60.  where,  i.  35*>;  ii.  42**,  | 


43®.  kahiin  pi,  somewhere,  any- 
where, i 24®,  25*. 
giTW  [-g]  body,  iv.  14*. 
grnn  ts.  one-eyed,  i.  20*. 
gngnu  [°:r]  a forest,  park,  ii.  22**. 
giro  ts.  love,  Cupid,  ii.  5*’;  iv.  2*,  7'. 
gn4  ts.  well,  forsooth,  iii.  19*. 
chiwiig  [°g]  Assam,  i.  14*. 

[°!n]  name  oj  a tvoman,  iv.  9®. 
gtifwul  a loving,  beautiful  woman, 
i 33*;  ii  43^  48*;  iii  18';  iv.  6'. 
gnrts.  {at  the  end  of  comp.)  author, 
i 8*. 

gtTTHi  ts.  reason,  cause,  ii  27**,  42**,  47*; 

iii.  1**,  9**. 

gfTTTwf^  ts.  a prison-house,  jo>il,  iv.  9®. 
grrlr-  [“fim]  doling,  causing,  ii.  10*. 
gym  ts.  time;  death,  the  destroying  god, 
i 8®;  ii.  6®,  28**,  41»,  50*;  iii  4®; 

iv.  2*»,  19*. 

gym  ts.  black,  iv.  14*,  18'>. 
gimgraftar  [migfigt]  a scholar,  i.  18*. 
gyrnmr  opportunity,  i.  35*>. 

gym^ts.  a name  of  Durga,  iv.  19*’. 
gyni  + g<o  appear,  become  manifest. 
paasai  iii.  11**. 

f^syy  [fsRm]  performance,  a religious 
rite,  i.  24'’. 

[gyfn]  «;orZc,  composition,  i.  ll**. 

[“ggy]  a tree,  Butea  jroyidosa, 
having  red  blossoms,  i.  16'. 
fgy<*i?  ts.  a female  servant,  i.  36'’. 

ts.  a bell,  i 20®;  ii  32^  34'’; 
iv.  17*. 

[gi^^]/ame,  ii  35'’. 

[gyf^]  artificial  ii.  28*. 


127J 

^imthe  interrogative  pronoun,  tiho, 
what,  which;  with  vi,  pi,  it  w| 
ind^nite,  some  one,  a certain. 
The  neuter  kim  is  used  with  instr. 
in  the  sense,  what  is  the  use  of? 
Iriih  is  used  also  as  an  interrog- 
ative particle,  kim  ca,  nurreover, 
further,  ko,  i 5* 16‘,  20^®, 
28®,  35»>;  ii.  23%  27%  29'®- 47'-, 
iii.  15'.  ka,  L 4%  16',  20'®,  33% 
34',®;  ii.  2B^  27<*;  iil  1»>;  iv.  9®, 
16%  19®%  kim,  i.  1%  4®- '®- '%  6».  ®, 
8',  11®,  16®,  18«-  '®.  19<‘.  % 

20®-  *.  ®%  2P.  % 22%  23',  24%  25',  28% 
34%  35';  ii.  6'%  10'-®-%  11®- % 16% 
24%  28»-%  29'-%  41  % 42'- '®-  “•  ®®, 

43",  47%  48®;  iii.  l»-%2',  8'-%  9% 
12'.  ®,  13».  •>.  % 14*-  *>-  % 16»-  *>.  '■  ®,  19% 
20®.  '®. '%  34*.  ®;  iv.  2'-  % 3',  4% 
9'%  18®.  ®%  19'®.  ®^.  «%  22*>. '.  ®,  23'. 

kam,  ii.  11®.  kepa,  i.  10'.  kassa, 

i.  23%  27';  ii.  32%  40%  42’;  iii.  8®, 
9*;  iv.  6%  kie,  iii.  9*.  ke  ii. 
42®% 

ftiTTB  ts.  a ray,  beam,  ii.  29'®,  50';  iii. 
26% 

[°h]  a Kirdta;  a dwarf,  iii.  34% 
ts.  certainly,  I think,  ii.  8% 

to  sound,  jubilate,  laugh.  »lai, 

ii.  34% 

FchMW.;  see  WR. 

[-q]  a young  and  tender  shoot, 
ii.  42% 

chlfgH  of  what  kind,  L 20®®;  ii. 

42®®;  iii.  3%  9®;  iv.  19®®. 
cirf^  H.  3.  68.  why,  ii.  42®% 


— 

: [“OTw]  a petty  village  or  hamlet, 

' ^ i.  18'®. 

I 

^jwts.  saffron,  i.  13%  16*;  ii.  8%  12*; 
iii.  14%  15%  20®. 

[^]  beard,  i.  20*®. 

aiggi  [»53i]  humpbacked,  crooked,  iii.  34®. 

[“5f?]  ts.  a bawd,  i.  18®,  34®% 
crooked,  curled,  ii.  20*. 

[‘Zvr] family , household,  rela- 
tionship, i.  4'®,  34®'. 
ts.  an  ear-ring,  ii.  18*. 

[”h]  bowed,  bent,  ii.  6% 
ts.  a lance,  iv.  9'% 

o 

ts.  the  hair  of  the  head,  ii.  41% 

o 

gjnTsits.  name  of  a country,  i.  12% 
34%  kuntall,  a Kuntala  woman, 
i.  15'. 

jRs^wMTts.  name  of  a woman,  iv.  9'% 
^to  be  angry,  kuppadi,  ii.  47®. 
kuppa,  i.  20®. ". 

aguimaT  a,  sort  of  bodice,  i.  13% 

[“WT^]a  girl,  ii.  22*;  iii.  17'. 
9<witTrqT  [“fg]  childhood,  the  age  from 
10  to  12,  iii.  16®. 
ts.  a pitcher,  water-pot,  jar,  ii.  44*. 

[°BTnre]a  white  gourd,  iv.  18% 
[“wr^^r]  an  epithet  of  Agastya, 
i.  17*. 

[offT^]  a deer-eyed  woman , ii. 
3®. 

[“grr]  name  of  a woman,  the 
confidential  servant  of  Karpura- 
mahjari,  iii.  19®;  iv.  20% 
cRT^r  ts.  a lock  of  hair,  i.  1 5'. 
awraH  [°c«i]  a species  of  amaranth,  ii. 
42®',  43*- '%  44%  45*. 


bh*>«*in5T-  — 
o u 

to  croon,  grumble,  growl.  °ra- 
anto,  iii.  2*.  Taantl,  i.  18'^ 
^ts.  family,  herd,  collection,  i.  11®, 
17s  19';  ii.  4A^. 

[°Trm]  the  doctrine  and  practices 
of  left-hand  Qdktas,  i.  22 S 
[“5ut]  a river,  stream,  iL  10^. 

[“a]  the  blue  water-lily,  ii  IQ^*, 
38^,  42®. 

[°^]  skilful,  dever,  i.  1*^. 

[°aj?gtg]  an  actor,  i.  4^. 

OTW  ts.  a flower,  i.  4S  16**;  ii.  6'®>  7®, 

21®,  44%  45**;  iii.  I**,  22',  24®;  iv. 
18’«,  19««,  21b,  22**. 

[®m]  Cupid,  iii.  7**;  iv.  2®. 
^flWT3TT  [”5Rt]  the  spring,  ii  1®. 

[°gvi]  Cupid,  ii  35**. 
ts.  a cavity,  ii.  30**;  iii.  20'. 

^ ts.  food,  boiled  rice,  i.  19®. 
g:  to  make,  do,  prepare.  Caus.,  to  cause 
to  do.  kunai,  ii.  31';  iv.  84  ka- 
redi,  i 20^®;  iv.  18^4  kunanti,  i. 
14*>;  iv.  14*>,  154  karissam,  ii 
104  43^;  iv.  2*.  kuna,  iv.  204 
karedu,  iv.  20®- '4  kunanto,  ii. 
50®.  kunanta,  i.  15';  iii.  28'.  ku- 
nantai?a,  ii  464  kadum,  ii.  6’4 
kaupa,  ii  8®.  kadua,  ii  8^;  iii. 
5*;  iv.  9',  18”,  19”.  kijjai  ii.  27'; 
iii  15'.  kariadi,  i 20'4  kijjau, 

iii.  1®.  karladu,  i.  20^4  25”  ii 

43'4  50®;  iv.  19'»-  ®°,  21',  224  kaa, 

iv.  17®.  kida,  ii  6'4  kao,  iii 
324  kido,  ii.  9”  iv.  lO’**'.  kaaih, 
ii.  474  kidaih,  i 19«;  ii  11®.  4 
47”,  iii  30®;  iv.  20®.  kae,  ii  104 


[128 

kide,  ii  42®- kidao,  iv.  9'®. 
kaal,  ii.  19®.  karanijjam,  i 12®. 
kadawa,  i.  34®4  kadawaih,  i. 
24';  ii.  29®.  kario,  ii  154  kari- 
dam,  iv.  18®4 

+ sraH  to  decorate.  °kiam,  i 33®.  -ki- 
da,  ii.  24®. 

graio  draw,  drag  away,  bend,  kad- 
dhijjai,  ii  294  kaddhia,  i 32'. 
kaddliidao,  iii.  4®. 

+ sTT<o  draw,  pull,  snatch,  aaddhia, 
i.  294 

wfo  spread,  scatter,  kirai,  iii  204 
kiranta,  iii.  284 

^arar  fem.  ^ ar^  [°gcR]  name  of  a plccnt, 
i 29**;  ii.  7®;  iv.  21**,  22**. 
wanfbTT  [°gifiiKT]  a meadow,  iii  20®. 

name  of  a plant,  ii.6'®-®®-®'-®®. 
^fkts.  play,  sport,  amorous  sport,  i 
244  26';  iii  20®,  234  31**;  iv.  2«,  9”. 
[°3<r]  causing  pastime,  i.  14®. 
jirHchUUill  [°gg]  a pleasure-park,  ii.  224 
[°g]  CL  pleasure-house,  iv.  19®. 
[°fd]  name  of  a woman,  iv.  9'®. 
«fgfg?rrai  [°g]  a pleasure-palace,  iv.  9'4 
^f^amr  [“Tiugja  pleasure-couch,  iii 
27'. 

["71101]  (he  same,  iii  3*. 
^ggts.  only,  i.  6**,  24';  ii.  28®. 

TO  ["Tj]  hair,  i.  264 

TOT  ts.  the  filament  of  a flower,  fibre; 

the  Bakula  tree,  iii.  1'^,  24®,  25'. 
o^anrs  ["girs]  a bow,  i 16®;  iii.  304 
["fro]  the  cuckoo,  i.  18';  iii.  314 
[eKTgro]  desire,  curiosity,  ii 
38®;  iv.  18®. 


129] 


— mu 


the  same,  ii.  49*. 
wrfe  [“fe]  ten  millions,  iii.  B*>-  *. 

5^  HD.  2.  33.  desire,  curiosity,  ii. 
37»;  iii.  3'. 

a •pleasure-house,  iv. 

18*2. 

ts.  tender,  soft,  ii.  10*;  iii.  33*. 
5KW  [sKT-]  belonging  to  the  left-hand 
(fdktas,  i.  23<*. 

oRWT^ts.  a loud  and  confused  noise, 

iii.  34®. 

['^l]  memhrum  •virile,  i.  20“. 
am,  after  5 and  anusvdra  m [mn] 
indeed,  methinks.  kkhu,  i.  20*®; 

iv.  2*.  hu,  i.  4®,  20®®,  34'»-®2.i8j 

ii.  42*-  b,  48'>;  iii.  9>>;  iv.  2*,  18®«. 
khu,  i.  B®;  ii.  0\  6®,  10®;  iii  3**. 

WJl  intens.  Cans.,  to  cause  to  go.  can- 
kamio,  ii.  18**. 

+ srfn  to  pass,  adikkanta,  iv.  18”. 

+ MT  fo  attack,  subdue,  akkanta,  i.  14®. 
+ go  away,  to  leave,  nikka- 
mamha,  iii.  22®. 

buy.  kiijido,  iii.  4®.  kinids,  i. 
34*®. 

+ sell  vikkimadi,  L 18*®.  vik- 
kinida,  iii.  B®. 

WH  to  be  tired  out,  exhausted,  kilam- 
mami,  iii.  19®.  kilammanti,  iii. 
20®.  Mlanto,  iii.  8*. 

^ to  boil,  kadkia,  iL  ka<Uiida, 

iii.  20®. 

^+vCaus.,  to  wash,  wipe  away. 
pakkhalido,  iii.  3®. 

fen  to  throw,  cast,  kliivanti,  iv.  13*. 


mar  [gn]  hurt,  torn,  broken;  a wound, 
i.  28*;  ii.  11\ 
mm  a sword,  iv.  9**. 

to  limp,  halt,  khanjia,  i.  21*. 

HD.  2.  71.  a side-door,  back- 
door, iii.  20**. 

mferr  [‘■femr]  chalk,  iiL  33*. 
mm  [mm]  an  instant,  moment,  ii.  3®, 
40®,  41®,  47**;  iv.  9^  18®®. 
mm- to  break,  cut,  crush,  khandis- 
sam,  i.  20*®.  khandijjai,  iv.  3**. 
khandaanta,  L IB**, 
mm  ts.  a piece,  part,  I 23*. 
mrnmr  [“m]  breaking,  cutting,  frustrat- 
ing, ii.  27**;  iv.  3*». 

mmmm  a kind  of  cake?  jest,  joke?  {K, 
kalikhanda  apupavi^esah,  N,  de- 
Qyam  khadikhandagabdah  krlda- 
vacakah),  i.  34*®. 
mra  to  eat.  khajjae,  L 23**. 
mm  [mm]  thin,  emaciated,  ii.  6*®. 
mn:  [mn:]  saU,  ii.  11**. 
fmm  [om]  afflicted,  tired,  i.  20*. 

see  f^. 
msee  ma. 

O 

m^  H.  4.  116.  to  faU  short,  ii.  4*. 
mr  [m^]  a razor,  iv.  3**. 
m5RT  to  play,  move  to  and  fro.  khe- 
lanti,  iv.  11*>. 


iram  [mm]  the  sky,  ii.  30*>,  47**;  iii.  20*®, 
n^ts.  the  Ganges,  i.  4*;  iii.  3®. 
nrn  ts.  a flock,  multitude;  certain  demi- 
gods who  are  the  attendants  of 
Qiva,  i.  2B*,  33*;  ii.  28*;  iv.  19®®, 
22*. 


9 


irons  — 


[130 


ironir  [m]  counting,  ii.  S?**. 
ininirr  ['sn]  regard,  ka  g.,  what  need 
we  say  of,  iii.  I**. 

irfiis  a knot,  tie,  i.  16**,  20*^;  iii. 
9»'  iv.  20^^. 

irfus<iag  [irf^mro]  name  of  a fragrant 
shrub,  according  to  F=  Tabernae- 
montana  coronaria,  iii.  20*. 
ini^ts.  the  cheek,  i.  15%  16*;  ii  37*; 
iii.  34% 

iui|U  [°aj  a mouthful,  handful,  iii.  20% 
HtT  [irnr]  a limb,  body,  ii.  27'*;  iii.  22% 
in«ts.  smell,  odor,  ii.  6*% 

[°^]  a fragrant  oU,  i.  13*. 
umsfrur  ts.  the  musk-deer,  iii  20*. 
irew  [°m]  womb,  belly,  interior,  L 34*’; 

iii.  3*®-  *%  4*;  iv.  21% 

ire«m  [“Wi?]  inner  apartment,  iii.  22*. 
to  go,  pass,  gacchami,  iii.  3*®,  34’. 
gacchanti,  iv.  9%  gaccha,  i.  20**-  ; 
ii.  42**.  gacchamha,  iii.  22%  ga- 
missam,  i.  34*®;  ii.  50*;  iv.  19*’>^% 
gamissamo,  L 36*.  gao,  iii.  25“*. 
gado,  iii.  3*%  5%  gaa,  i.  33'.  ga- 
da,  i.  18*%  20**-  *®;  iv.  9*,  19**. 
gaarii,  i.  35*>;  iii.  3*-  <*.  gadam,  ii. 
1*,  11*;  iii.  4*,  12*.  gadae,  iv.  20*. 
gae,  i.  14%  35'.  gade,  iii.  3*%  8*; 

iv.  18**.  gadua,  iv.  18%  19*^. 

+ 9i^to  accompany,  anugaa,  iv.  ll**. 
anugada,  ii.  28*. 

+ 3T?ffo  know,  learn,  avagamia,  iii. 
34"’.  ’. 

+ STT  fo  come.  Sacchasi,  ii.  42**.  aac- 
chadi,  ii.  41®;  iii.  34’.  aaccha, 
iiL  34%  aacchadha,  iv.  19*®-  *’. 


Sgamissam,  i.  20**;  iv.  19*®.  aga- 
missadi,  iv.  18**.  agantawam,  iv. 
19*®.  aado,  iv.  19®%  aada,  iL 
6**-*’,  42*;  iv.  19*’.  agadam,  L 
18*;  iii  34’. 

+ rise,  ascend,  uggaa,  iii  1'. 

+ to  come  out,  part,  ^iggacchadi, 
iv.  19*.  luggaam,  iii  20'. 

+ HTi  to  join,  meet,  samgada,  iii  3*% 
iTW  ts.  going  away,  iv.  7% 
iTOTir  [°5t]  going,  motion,  iii.  23% 
iTwk  ts.  deep,  solemn,  L 28*. 
nTHts.  poison,  ii  11*. 
iRto  drop,  fall.  Caus.,  to  pour  out, 
JUter,  strain,  galanti,  ii  9®.  ga- 
iiassa,  i.  19'. 

4-feto  vanish,  disappear,  vialida, 
ii  6*% 

HD.  6.  91.  a strong 
but  lazy  bull,  L 20**. 
nwr  [“a]  pride,  i 19% 
irra  ts.  strong,  vehement,  intense,  L 19®, 
20**;  iL  45*;  iii.  20*;  iv.  1*. 
fhi®  [uTtii]  summer,  ii.  41®;  iv.  1%  4'. 

[fnr]  speech,  voice,  words,  ii.  29'. 
fhft  ts.  a mountain,  i 20*. 
ftrftR  the  king  of  mountains, 

Himavant,  the  father  of  Pdrvati, 
i.  3% 

fiiftw  [-^r]  Qiva,  i.  3'’;  iii.  29*. 

[“htI  Parvafi,  i.  4<*. 
if^^  [“fw]  song,  singing,  iv.  1 7*. 
iTurts.  quality,  virtue;  thread,  string, 
cord,  i.  10%  20**,  33»;  ii  2%  4*. 
26%  27',  28';  iii.  8®;  iv.  19«%  22', 
24*. 


131] 


^ see  TOR.  contact;  coining,  stamping,  ii.  37*, 

mxjj  to  string,  tie,  arrange,  gumphedi,  41*;  iil  10“;  iv.  9*. 

i.  4^  gumphanta,  i.  IS**,  guttha,  gru  ["Sf]  1.  compact,  dense,  strong,  L 
iii.  2*,  6».  j 13',  27^  29<*;  ii  6'“,  12“;  iii.  20^; 


IT5  ts.  a teacher,  spiritical  preceptor,  iv.  6',  8*.  2.  a cloud,  iii.  4*. 

i.  5^  22®;  iv.  18'^>  vnjpffTT  [vr  ] camphor,  ii.  21*. 

ir^  to  hide,  gudha,  ii.  21*.  name  of  a woman, 

-f  3TI  <0  embrace,  uvagiidho,  ii.  45*.  j synonymous  with  Karpuramahja- 
throw  out,  put  Jorth.  sa- 1 ri,  iv.  18*®.  19‘®,  20®>  *®. 

muggirai,  ii.  46*».  j vni^T  ts.  a bell,  ii  SP. 

Jt%t  [°^i]  aong,  iii.  14*.  vnw  [«w]  heat,  warmth,  ii.  6*®;  iii.  20®. 

7r3?r  [^n^j  ^hat  can  be  grasped,  i.  30*;  vitH.  2.  144.  a house,  i.  14®,  18®,  20®*; 
iii.  19®.  ii.  2*';  iv.  1®,  18®. 


nfrsrr  Lirftwr]  red  chalk,  iii.  18®. 

[*!']  wife,  i 11*;  iii  16*. 
n to  sing,  gaanta,  L 21*. 
ifhTT  [”^]  range  of  the  organs  of  sense, 
grip,  hold,  influence,  iv.  2*,  20®. 
[°«^]  conversation,  i.  20®*. 
nk  [nk]  white,  yeUotvish,  iii.  34®. 
mrsT  the  same,  iii.  31*. 
nkff  [ifknf]/ew.  •ngl,  having  a pale- 
red  body,  i 20®. 

nk?  [ifh]  Pdrvatl,  i.  28*;  ii  6®®;  iv.  18*®. 
irkrar  [°uaR]  a cow-herd,  i.  21*. 

TTg  to  seise,  take  gepha,  iv.  20*®.  ghet- 
tuna,  i 12®.  genhia,  iv.  19*®>®®>®®. 


vij  Caus.,  to  join,  accomplish,  form. 
ghadei,  iii.  17'.  aghadia,  i.  2®. 
Caus.,  to  open,  ugghadijjanti, 
i 36*. 

+ HIT  <0  6e  united,  joined,  saiiighadai, 
iii  9*.  samghadide,  i.  18®. 
to  rub.  ghattedi,  i.  4®. 

'iirT  •‘^]forming,  joining; 


ts.  a grinding-stone,  iii.  30®. 
vifiqr?  a tvtfe,  i 19®,  34**;  ii  8®; 

iii.  15*;  iv.  18®«. 

4.  334.  to  throw,  cast,  ghal- 
lissam,  i.  20®*. 

[‘«nr]  saffron,  ii  37*. 
see 


^see  ST. 

w [°u]  collection,  heap,  mass,  L 26®; 
j ii  60'. 

! of  four  kind,  fourfold, 

I ii  !<*.'' 

I [^nsrfe]  sixty-four,  iii  4*. 

^ark  ['g^j  the  Greek  partridge  (said 
! to  feed  on  moonbeams),  i 1^. 

' [to]  cl  wheel,  ii.  18®,  23',  34*. 

HD.  3.  20.  round,  ii.  34*. 

I [^*raf^]  an  emperor,  i 12»; 

I iii.  15*;  iv.  18®*.®®,  23'. 

' [TOcrrar]  ruddy  goose,  ii  8®,  60'. 

[^sFTaRTT]  whed-Uke,  ii  23';  iii 
19'. 


9* 


[132 


^5*^51  

an  eye,  ii.  5*. 

■d^H-  see  am. 

[^^“]  going,  walking,  i.  27**. 
HD.  3.  1.  beautiful,  i.  31*>,  33*;  ii. 
25»,  28>>;  iv.  IS**. 
beauty,  i.  14^  20®;  iii.  9<=,  16®. 
df^iT-  H.  1.  35;  2.  154.  beauty,  iL  24**, 
26*^;  iii.  6%  IS**. 

[ddfj  smearing,  anointing,  i.  20®. 
dJd^rts.  trembling,  tremulous,  ii.  41*=. 
ts.  waddling,  iii.  23*. 
licking,  cp.  Marathi  catanem,  i. 
20®®. 

^ H.  4.  206.  to  rise,  increase,  cadadi, 
iii.  16®. 

wild,  impetuous,  angry,  L 17**, 
23*;  ii.  lO^. 

[gyy'm]  the  sun,  i.  35*. 
xRTsaTH  [“am]  name  of  a king,  i.  12*. 

[“5T]  name  of  a king,  iv.  18*®. 
dfirgw-  H.  2.  154.  impetuosity,  i.  16®. 
dfffrdi  [ddiuT]  the  fourth  day  (e.  g.,  of 
a lunar  fortnight),  ii.  6®’,  29®. 

[dH3?r?]  the  fourteenth  day  of 
a lunar  fortnight,  iv.  18**. 

[d^]  skilful,  conversant  with,  i.  7*. 
dSTdiu  skill,  loveliness,  i.  20*. 
dgmfg  [dH'.ofe]  sixty  four,  iii.  4*. 
dm  \^Pz]the  moon,  i.  32*’;  ii.  5^  6*®, 
27b,  29*®.  *®.  ®*,  43®;  iii.  16b,  24®, 
25**,  26*,  29b,  30®;  iv.  19®\ 
dmm  [“d]  sandal,  i.  14b,  20®;  ii. 

10*,  11*-  *;  iiL  20*1,  28b;  fy.  6<=,  6% 
8*. 


dfesTT  [dfmarr]  moonlight,  iv.  19®^. 
dwH.  4.  395.  to  compress,  squeeze, 
campiam  (P  translates  pi^tam), 

ii.  33*. 

dw*T  [“ar]  name  of  a tree  and  its 
flowers,  L 14®,  16*,  34®®;  ii.  42b; 

iii.  1*,  22b,  30b. 

dOTTts.  name  of  a town,  Campa,  L 
14®. 

dm-  [d^]  skin,  i.  23**. 
dmfg  [dwafe]  a whip,  cammatthia- 
anto,  looking  like  a whip,  iL 
39b. 

dT  -f-  dd  Caus.,  to  communicate,  sam- 
carenta,  iL  2*=. 

dftw  [°h]  acting,  behaviour,  acts,  iL 
40*. 

dd^o  stir,  move;  to  get  loose,  calia, 
ii.  1*.  caliarii,  i.  27**. 
ddts.  tremulous,  rolling,  iL  5*;  iv. 
16b. 

ddm  [“Tw]  a foot,  L 20®*;  iL  13*,  33*, 
42»,  43*. 

ddar  [°d]  moving,  shaJdng,  i.  36**. 
dfm  [dTT?]  the  motion  of  the  feel  in 
the  dance,  iv.  12b,  igb 
ddd  [°od]  unsteady,  wavering,  L 15*; 
ii.  49*. 

ddar  [“aai]  a drinking-vessel,  iv.  19b. 
dmrts.  a chowry,  fan,  ii.  31*;  iv. 
9®. 

diw^T  ts.  a terrific  form  of  Durgd, 

iv.  18®o-  ®8,  19*®. 

dTfr-  [“ftd]  wandering,  moving,  iv.  2*. 

dT5  ts.  lovely,  i.  16®. 

gra  [°a]  a bow,  ii.  6**;  iv.  14*,  19**. 


dmuM^i  [“ddPtgr]  name  of  a woman, 

iv.  9®. 


133] 


— 5TT 


[°OT5t]  the  Cduhan  family,  i.  11*. 

f^  + ^ to  gather,  arrange,  ucciijedi, 

i.  4‘. 

fan  see  %ar. 

•feats,  mind,  heart,  ii.  40’’**,  49®;  iii. 
11<»,  12';  iv.  9s  20«. 

fea  ['’?]  1.  bright,  variegated,  spotted, 
iv.  9''.  2.  a picture,  i.  27S  30<*; 

ii.  4*. 

•feaar  [‘^raa:]  a painter,  ii.  40^ 

•feafefa  [fe^°]  a painted  wall,  a wall- 
picture,  i.  36®. 

fea^tiT  [feaaiar]  name  of  a wotnan, 
iv.  9®. 

fear  the  fourteenth  lunar  man- 
sion, iii.  3'^. 

fer  long,  ciram, /or  a long  time,  ii.  4**. 
ciraa,  at  last,  iii.  23*>. 

feTT*r-  [°a-]  to  tarry,  ciraadi,  ii.  6'. 

fe^H.  1.  186.  the  hair  of  the  head, 
ii.  21®. 

a»afo  kiss,  cumbia,  i.  IT**. 

[°a]  kissing,  i.  2®. 
ts.  a crest-jewel;  best,  excellent, 
i.  S**.  *ttana  [“tva],  i.  20'. 
to  crush,  curaissam,  i.  20'°.  cu- 
riadu,  i.  20". 

ffew  [“aiT]  top-knot,  iv.  2*. 

fear,  ^ H.  2.  184.  restrictive  or 
strengthening  particle:  used  with 
tad  (like  tad  eva)  to  mean  ‘the 
same' ; i.  8®,  21^;  iii.  ll**,  19‘‘. 

[“■fearr]  a female  slave  or  ser- 
vant, i.  20'°' '®. 

%a  ^aa]  a lunar  month,  March-April, 
i.  17d  18-1. 


aksT  [-’^j  a thief,  robber,  iii.  31®. 
afe  ts.  name  of  a country,  i.  1B^ 
53  see  aa. 


HD.  3.  24.  clever,  i.  1%  5^;  iii.  9'. 
[ms53i]  the  sixth,  iii  18-i. 

[°3t]  mass,  lustre,  splendor,  flash, 
i 29®;  ii.  32®;  iii.  20*. 

®a  [°a]  a parasol,  umbrella,  ii.  29-i. 

®a  + u<o  hide,  conceal,  pacchaanti, 

i.  33\ 

®Taa  [asad]  a bee,  ii.  2'*. 

[Tj«jwta]  a name  of  Kdrttikeya,  i.3®. 
®wrfea  [aiiwifa*]  weighing  six  md?a, 
iL  17*;  iii.  20’. 

®ats.  deception,  guise,  semblance,  iL 
35®;  iii.  32>>. 

®a-  to  deceive,  cheat,  chalida,  ii.  29'°. 
®fe  ts.  color,  splendor,  shimmer,  i.  29°; 

ii.  47°,  50-=;  iv.  5*. 

®7ar  [°m]  reflection,  light,  ii.  6'°;  iiL  Is 
to  cover,  smear,  envelop,  churia, 
iv.  5*.  churio,  i.  29-1. 
ts.  smearing,  anointing,  iii.  28*. 
[anq]  hunger,  iii.  8'. 

®a  [“3jJ  clever,  ii.  26';  iii.  6°. 

#a  [ihiJ/eW,  width,  i.  30'. 

H.  4.  395.  to  cleanse,  rub.  chol- 
lanti,  i.  14*. 


a see  ua- 

5ia  [-a]  conquest,  triumph,  iv.  20*. 
aa-  [aaa:]  the  world,  iii.  12s  17*. 
5iaar  [-aa]  subduing,  ii.  41''. 

[afe] /,  ii.  47',  48®;  iiL  12',  15s 
I 33*;  iv.  2'°,  3',  18'S 





[134 


gr?-  [grfirgj/em.  »inl,  conquering,  van- 
quishing, ii.  41  ^ 

5nR3  [ira]  one  of  a class  of  demigods,  i. 
25<=. 

51^  ts.  moving,  iv.  18^ 
grea  [gnra]  noUe,  well-horn,  genuine, 

i.  \4t\  32‘;  ii.  19%  25»>;  iii.  1% 
giggrr  [graT]  old,  decayed,  iv.  4**. 
gnn  [°5t]  people,  man;  common  people, 

i.  4%  18%  21%  348;  517^  28% 

31%  40%  41%  47<i;  iii.  12%  15%  27% 
28%  iv.  2^  % 9%  14%  24». 

gfnnir  fern,  ‘m, producing,  causing; 

fern,  a mother,  i.  26"^;  iv.  9% 
gRTT  [nrr(]festival,  procession,  ii  44'^. 
[Ofrecj/row  whence,  from  which 
time;  because,  i 4^,  128>  % 18’%  19% 
20’-  ’%  31%  348’-  8%  ii.  6%  4228; 

1%  3%  20’%  22% 

[qvnjas,  as  follows,  i 7%  8%  13% 
16%  ii.  26’, 428%  iv.  18’- 20.  See^. 
arfurS  will,  i 168;  311^ 

grfeg®. 

SR  to  be  produced,  be,  become,  happen. 
Cans.,  to  produce,  jao,  i 29**; 

ii.  50**.  jaa,  i.  20%  36*;  ii  1%  3**; 

iii.  28**.  jaaiii,  i 16».  jade,  ii. 
422%  jania,  i 2*;  ii  19%  32*. 

+ <0  grow,  become,  samjaa,  iii.  25‘>; 

iv.  23*. 

SRI  [ijsgr]  an  instrument,  machine,  iv. 
13%  “jjala,  an  artificial  stream 
of  water,  showerbath,  iv.  10% 
'dhara,  the  same,  iii.  20*. 
siftmi  [aifrUd]  speech,  murmur,  ii.  2% 
giT  [mi]  fever,  ii.  42% 


sirs  [“S]  hard,  solid,  iv.  2%  jaradhaa- 
mana,  growing  old,  ripe,  matured, 
ii  1% 

gigrts.  water,  i 4»;  ii  11%  24'*%  30^; 
iii.  3”-  ’%  20*. 

grar^rfer  [grarr”]  a libation  of  water  pre- 
sented to  the  manes  of  a deceased 
person,  ii.  6**,  422% 
graiT  [°vt]  a cloud,  iii.  3”,  28% 
gjfafo  speak,  talk,  jampanta,  iii.  27*. 
grafiiraRi^  ['’f^gsinii:]  the  tiring-room, 
i 12% 

gR  [ovnjas,  that,  i 34*-'>-*;  ii  44**;  iv. 

20%  jaha,</jesawe,  i34%  /Seegmi. 
gi^  [qgr]  H.  3.  60.  where,  i.  2028-  2®.  2«.  33. 
grfeg®  [tra°]  at  will,  ii.  22*.  See  grnjg®. 
gtifanjl  [mfml]  night,  ii  29**,  41®;  iv.4*. 
grra  [mart]  as  far  as,  tiU,  in  the  mean- 
time, ii.  41®;  iii.  34% 

^mto  conquer,  surpass,  curb,  restrain, 
be  victorious,  jaai,  i.  4**;  iii  18**, 
30’’;  IV.  19%  jaa,  i I42.  jaadu, 
ii.  6’2;  iv.  9’%  18®.  jia-,  iii  4*. 
jido,  iii.  2’. 

+ f^fo  conquer,  pijjida,  i 14% 

+ faf5ifc<o  conquer,  defeat,  vinijjia, 
i 13% 

gda  to  live,  jivadha,  i.  20“. 
gdats.  life,  soul,  i 35*. 
gdfesT  [ofi]  life,  ii.  9**. 
gd^  tongue,  ii.  47% 

CTST  [gn]  a pair,  couple,  i 26*;  ii.  13% 
18%  33%  37*. 

[gasf]  young,  ii.  41**. 
waigi  [giT5f]  a pair,  couple,  i 20” ; ii.  O**, 
7%  13%  16*. 


135] 


gm^3T  f a»iHg>]  the  same,  ii.  14*. 

o ‘ o ■* 

3ri?r 

^ [arfjn]  old,  wasted,  decayed,  ii.  29'*; 
iii.  28'. 

^Tsfgc  [gf^rfssr]  name  of  the  ddest 
Fdndava  prince.  His  eldest  bro- 
ther, the  son  of  Kuntl,  was  Karna,  | 
which  word  means  also  ear,  i. 
20'». 

Big  [sms]  eldest,  i.  20'\  34^®;  ii.  lO**-  *. 
srfHarH.  2.  157,  so  much  as,  i.  7*>. 
ira  [5^]  H.  4.  280.  a particle  used  to 
strengthen  the  sense,  just,  quite. 
Jf  anusvdra  or  ^ I,  u precedes, 
we  find  the  form  jeva;  otherwise,  j 
jjeva.  jeva,  i.  5^  7',  16*,  20‘'*>'^‘', 
34"*;  ii.  6^•^  24";  iii.  22%  34^;  iv. 
19"«.  jjeva,  i.  8",  20"*;  ii.  1",  9',  45' ; 

iii.  22",  34»;  iv.  19«>  «». 

aftfuil  [utfiinl]  a witch,  sorceress,  iv. 
17». 

wtWT  [mir*aT]  a sorcerer,  i.  26<i,  28"; 

iv.  18'2,  19'". 

whiT  appropricUe,  i.  19";  ii.  6^ 

23»;  iv.  2". 

wtw  [5«i;f^]  moonlight,  i.  1^  4%  29'; 

ii.  11%  30'*;  iii  7%  25^,  28% 
wlw^n  [rffSR]  t/oitf/j,  iii  17*’,  18'. 

W<o  hnow.  janasi,  i 18'®;  ii.  42'*>'% 
47’* ".  janai,  i.  35%  janadi  i 
32";  iii.  34%  janimo,  iii  12'*.  ja- 
nanti,  ii.  49%  jana,  i.  34' ; ii.  43'% 
jane,  i.  22*;  iii.  S*’  15'.  ja- 

nladi,  i.  28% 

-\-m  to  order,  command,  anavedi,  i 
19®,  34"®.  anavedu,  i 4'®. 


— SIST 

O 

+ <0  communicate,  speak,  tell,  vin- 

navedi,  iv,  9'%  18".  vinnavedum, 
iv.  9'*,  18"*.  vinnavladi,  ii.  28'; 
iv,  18'®,  19'%  vinnatto,  iv.  18'% 
vinijattam,  iv.  18*%  vinnavidaih, 
iv.  18*. 

|50^fo  burn,  be  hot.  jalai,  ii.  11';  iii 
20'. 

-{-32  Caus.,  to  make  illustrious,  ujja- 
ledi,  i 19% 


i ts.  a jingling  sound,  iv.  17*. 

to  sound,  jingle.  »nanta,  li 
32*. 

i quickly,  suddenly,  at  once, 

i.  20%  36®;  ii.  38*;  iii.  3'.  Cp. 

rfcfTi. 

Ujr  + ffH.  4 173.  Caus.,  to  cause  to 
drop,  ooze.  pajjharEvedi,  iv,  18"*. 
5TTn  \ynM]  meditation,  contemplation, 
i 22»,  24%  34"";  ii.  4<*;  iv.  19"". 


2WtHD.  4 2,  gaping,  large,  uneven, 

1.  20*% 

HD.  4 3.  adorned  with  a tilaka 
or  mark  made  with  sandal  wood 
or  unguents,  ii  11". 

3IIZT  1.  a scar,  see  bhamaratenta. 

2.  HD.  4 3.  a gambling-place. 
tentakarala,  terrible  in  the  gamb- 
ling-places or  a Durgd  of  the 
gambling-places  {K,  urahkinopa- 
laksitacandika),  i.  18®,  20"®. 


ts.  a lord,  chief,  iii  8% 


3TW  — 

snir  [m^]  place;  tone,  modulation,  i. 
4',  20^“;  ii.  iv.  19^2, 24^ 


s>^»n  see  eTS" 

^gra+faf^o  cheat,  deceive,  mock,  vi- 
dambedi,  iii.  8b 

ts.  mass,  show,  pomp,  empty  noise, 
i.  2*;  iii.  12%  13% 

■fewts.  a young  child,  i.  30^ 

^ + 33  fo  fly  up.  uddino,  iv.  2^b 


fewi  [ftiftra]  loose,  relaxed,  careless,  i. 
13«;  iii  3'. 


?ir  [3]  not,  i G**,  8%  13*>  % 18'®- 
2Qi.  7, 8. 9, 14. 20, 38^  22%  25^  27%  30% 
34a,  b,  c.  17. 18.  4a.  % 6®,  8%  10% 

16%  24%  26%  28‘>.%  32%  40%  42‘®>  i"-®, 
47^  ®,  49®;  iii.  8%  9%  14%  15%  16% 
20%  22%  34®;  iv.  2®.  ®%  3%  9%  18®®, 
19®.  % 20®. 

Jirarrir  [^crt]  eye,  i.  20®%  34<=;  ii.  6%  19% 
21".  % 38",  40®,  42";  iii  20®%  iv.  20% 
irrjTT  [smr]  a town,  i 25®;  ii.  30";  iii.  5®. 
the  same,  ii.  3% 

ijH.  4.  283.  surely  (as  used  halj 
questioningly),  i 29%  34®®;  ii.  47®. 
nr^F^  [3^]  a lunar  mansion,  i 20®®.®®; 

iii.  3®% 

ureanr  [3^]  dancing,  iv.  17% 
tn^airrl  [3^]  a female  dancer,  i 16®; 

iv.  11". 

irrf®3  [3^]  dancing,  iii.  22®. 
urg  [^]  dancing,  acting,  i 4®.  ®®;  ii. 
IS**;  iii.  14". 


[136 

[»<Hiqgi]  causing  to  dance,  move, 
shake,  i 16®,  17'. 

Tirs  + feH.  4.  150.  to  confuse,  mystify, 
delude,  vinadida,  iv.  19®®. 

[3^]  an  actress,  courtesan,  ii.  28". 

[5Tfs3^]  name  of  a poet,  L 20®®. 
a daughter,  i.  12®. 
[sTtuftr]  a king,  ii.  35% 

[315:3]  the  same,  i.  12®. 

nrfem  [jtF^h]  a lotus  flower,  L 27". 

iuTHml  [3ftT3^]  a lotus  plant,  a pond 
abounding  in  lotuses,  L 35*®;  iii. 
19®. 

Hjg  [?ra]  new,  i.  32";  ii.  2%  19%  41",  42% 
44";  iii.  1%  4%  24",  25%  30'>;  iv.  7% 
9",  22". 

Tire-  [3»ro]  the  sky,  iii.  7",  29".  na- 
haddhe  [nabho’rdhe]  in  the  midst 
of  the  sky,  i.  25®*. 

TiresT^r  [3H^fiH]  the  sky,  iii.  26**. 

[HUHriT]  Fiper  betle,  iv.  5". 

Tinfean’  [3rfe3iT]  a short  or  light  dom- 
estic comedy  in  four  acts,  such  as 
the  Batndvali,  i.  6". 

Tirrorr  [3731]  manifold,  various,  ii.  3% 

Tirm  [3to]  name;  by  name;  indeed,  L 
25%  34®-®®;  ii.  26";  iii  1%  5®;  iv. 
9®%  18®% 

TUTHirTT  [3mr°]  another  name,  iv.  20®*. 

Tirnrear  [3rrrOT]  waw?e,  i.  20®®-®*-®®;  iii 
3®«;  iv.  9®- »-  ®®-  ®®-  ®®. 

Tinnar  [hititj]  an  iron  staff  on  the  gold- 
smiths scales,  i.  20®®. 

TirifTg-  [3iT^]  an  orange,  ii.  50% 

3113  [313]  a lotus-stalk,  ii.  16®. 

Tirrax  [3T]  a ship,  iv.  20®. 


— fijiar 


inm  O’  deposit,  pledge  of  love, 

i.  3\ 

mrs  [htti]  lord,  husband,  i.  35'. 
irnf^  [irrfw]  the  navel,  i.  34*>;  ii.  24*. 
f(D5T  [f^]  own,  one's  own,  i.  19^  20’^, 
33*,  34*^;  ii.  28^  43®;  iii.  20‘«,  32>>; 
iv.  19'^ 

fiusHfui]  HD.  4.  38.  a garment,  cloth, 
iii.  15**. 

fiffarf^ar  [fw^ifdefi]  near,  at  hand,  ii.  41®. 
fwa?r«isee  gfr  + fn. 

fiil3TT5  [^^°]  ^^0  buttocks,  the  circum- 
ference of  the  hips,  ii  1*,  15*,  24'*; 
iii.  19'. 

■ftiraTfraJiff  a woman  with 

large  and  handsome  hips,  ii.  26'‘; 
iii.  13'. 

ftjaTT  [f^rar]  a multitude,  collection,  ii. 
17^  45”. 

fedm  \^{^]dever,  skilful,  careful, 

ii.  40”;  iv.  3*. 

4.  181;  3.  56.  to  see,  i.  34”. 
ftndar  [ftrohr]  injunction,  command,  ii. 
281 

[f^°]  stainless,  i.  10”. 
ftjrea  continual,  perpetual,  con- 
stant; always,  i.  2”,  33'^;  ii.  lO*^, 
46”;  iv.  22<». 

ftiTSTa  H.  1.  47,  257.  the  fore- 

head, ii.  20*. 

fairra  [f^rera]  round,  globular,  iii.  4”. 
[fadi^]  heat,  summer,  iv.  3',  5<*, 
6'- 

ftiTfT  [f^]  sleep,  ii.  50*;  iii.  3'*. 

worthy  of  blame, 

L 20^. 


HD.  4. 31.  abundant,  exceeding; 
very  much,  i.  17'.  Cp.  Marathi 
nipata  or  nippata. 
ftrsisyTH  [fiispvM]  causing,  iii.  24^ 
firrew:  [f^T]  vehement(ly),  exceedingly; 
close;  Jull  of;  ii.  44”;  iii.  7*-';  iv. 
19«. 

fm*MuiaT  [f^MTTra]  another  name  of 
Mahendrapdla,  i.  9*. 
ftTfarT  cause,  motive;  at  the  end 
of  a compound,  in  otder  to,  for 
the  sake  of,  i.  12*,  34®®;  ii.  42**; 

iii.  16';  iv.  9®,  18**. 

fawtiiii  [l^mfxnjr]  cp.  H.  4.  19.  building, 
forming,  iii.  17”. 

[f^TT^]  without  letters,  illiterate, 
i.  20*®. 

[^°]  uninterrupted,  iv.  8”. 
fiirferafiira^  [f^r^gnfhi]  what  can  be 
seen,  ii.  47“*. 

fcTfrf^ar  look,  ii.  6'. 

undistinguished,  un~ 
important,  i.  18*. 
ftngfiarsee  qrr  + f^. 

fui<aRui  preventing , warding  off, 
iii.  8”. 

fuiHa^  [fW%s]  close,  compact,  ii.  24*. 
fiu&daT  [f»idagi]  telling,  indicating,  iL  8®. 

entrance;  expanse,  con- 
tour, i.  36*;  iiL  7“*,  21”. 

H.  4.  62.  to  become  clear,  niv- 
vadadi,  i.  19^ 

[f^fau]  without  hindrance,  iv. 
19®®. 

nature,  i.  31”;  ii.  25*. 
fiirm  [fHjrT]  night;  by  night,  ii.  9’;  iv.  3*. 


ftiHTaR  — 


fimaiaTT  [f^nrrarj/em.  ti,  a fiend,  Ba- 
k^asa,  IV.  IS**. 

ftrrs  [fsm]  like,  similar,  i.  32*. 
ftirfersee  viT+fW. 

fa'^g^n  [fH^gn]  coitus,  iii.  7®,  28®,  29*’; 
iv.  4°. 

[sTfe^a]  withovti  interstices,  close, 
iv.  9'. 

black,  ii.  14*. 

[sfl']  a name  of  Qiva,  iiL  20^®. 
flowing,  streaming,  iii. 
3P. 

yfl^irfr  a sighing,  sigh,  i.  20®; 

ii.  10*;  iii.  20®. 

^ [h]  an  interrogative  particle,  iii.  8S 
19®;  iv.  1*,  2\ 

certainly,  iii.  17*,  32®.  nu- 
na,  iv.  21®. 

[^gr]  an  anklet,  i.  20®®;  ii.  32*,  33^ 
47*;  iii.  13*  18»;  iv.  17^ 

[^]  eye,  i.  30®,  32*;  ii.  3®,  46®. 

^ [5+5H3]  H.  4.  279.  that.  A form 
used  only  after  anusvdra,  i.  18^“; 
lii.  16>;  iv.  18®®,  19®®. 

U/gT^  [^traj]  decoration,  attire,  dress, 

i.  33^  34®«;  ii.  26^  27®,  28<®;  iv. 

20®. 

[^]  offection,  love,  i.  15**. 

S6S 

nit  [^]  not,  i.  13*,  22*,  23**,  30*»;  iii.  22*; 
iv.  23*. 

urtwT  + uH.  4.  143.  to  toss,  pa^ollia, 

ii.  14^  36*. 

nrsnif  [oh]  bathing,  bath,  i.  26®,  28“, 
30* ; ii.  24®. 


[138 

HSTt  [firiFc]  </ience,  thereafter,  then,  iii. 

4*;  iv.  3**.  Cp.  fT5t. 
rNr  [=aj^]  triangular,  oblique,  ii.  1^,  6®. 
Caus.,  to  beat,  tadiumapa-  [tadi- 
tumanas]  having  the  intention  to 
beat,  iii.  3^ 

fTl  [”S]  a shore,  bank,  iv.  20^ 

quickly,  at  once,  L 20*®>  **; 

iii.  3®,  20*.  Cp. 

aw  body,  i.  33*’;  ii.  8*,  24**.  daS 
[lata]  body,  ii.  1**,  9**,  11®.  ‘ilaJi, 
the  same,  i.  28*’. 

a?5i  [°^]  there,  here,  ii.  27**;  iii.  9*’. 

[rnorgn?]  her  honor,  a respect- 
ful title,  iii.  22*. 

a3  this,  that,  he,  she,  it.  sa,  iv.  3**. 
so,  i.  5\  6*,  10»,  19*,  21®;  ii.  P, 
28*>®,  46**;  iii.  3**.  **,  4*,  9^  10*,  12\ 
sa,  i.  1®,  8^  ll^  19*,  34**;  ii.4®,  11  ^ 
14*,  29^  42**;  iii.  5*>-  *,  6*>;  iv.  l^  9®, 
1320,21,38^  19*0.  tarn,  i.  13^  19*, 
20®*- 2®,  25*-**-*,  26®,  29®;  ii.  8®,  9*, 
27®,  28^  29*-'‘-«,  41*.*,  43*-**,  46**; 

iii.  3**.®,  5®,  8*,  9^  12**,  13®,  16®;  iv. 
9*,  18**,  19®®-  ®®-  ®*.  tad  os  first  part 
of  a compound  in  takkajja  [tatka- 
rya],  ii.  28*;  takkala  [tatkala],  i. 
8*;  takkhana  [tatk?ana],  iv.  18**; 
taggada  [tadgata],  ii.  1*,  11’;  iv. 
9’,  18*’;  tabbhatta  [tadbhartr], 
ii,  8^  tena,  i.  7*,  8*,  20**,  21**-’; 
ii.  28*>-S  29®;  iii.  4®,  6^  17*;  iv. 
18**-**.  tenam,  iii.  5*.  tassa,  i. 
4*®,  25^  34**;  ii  6’*;  iii.  3*®,  8”; 

iv.  18*®,  20®.  tie,  ii.  6“,  10®,  15*, 
19*.  tia.  ii.  1**,  5*.  9®,  17*,  23*-*'; 


139] 


iii.  2S  3<*.  tae,  ii.  28»,  40\ 
tiasa,  ii.  11*,  12*,  23'*,  29*;  iii.  1®, 
8\  tassim,  ii.  28“*;  iiL  16*.  te,  i. 
8»,  19‘’-  <•,  20®;  ii.  S'**  <*;  iii.  24'*;  iv.  9®, 
21**.  tao,  ii.  1*;  iii. 4’;  iv.  n**.  tairii, 
ii.  8*;  iii  22®.  tehim,  L 34**;  ii. 
42**.  tana,  iii.  15^  tSna,  iv.  9*’. 
tapaiii,  i.  31*,  33'*;  iL  43*’;  iii.  3‘^ 
4*.  11'*;  iv.  9'*  **. 

[fT?roj  thence,  therefore,  thereafter, 

then,  i.  18‘;  iii.  3‘'-  *“.  *>•  **•  **•  *«•  *'•  **, 
^1,  a,  3, 7, 8, 10^  51,3,4,5.  jy_  97^  j^0i5,ai,a3_ 

Op.  HWt. 

HVT  [’vn]  SO,  thus,  tadha  vi,  even  then, 
still,  yet,  i.  16*,  20*°;  ii.  29*;  iii. 
18*;  iv.  19“  23*.  Op. 

a certain  kind  of  religious 
treatises;  chirf  remedy  or  charm, 

i.  22*;  iii.  18®;  iv.  7'*. 

rTH  Caus.,  to  burn,  tavei,  iL  42**. 

ts.  name  of  a tree,  ii.  43*-  **. 
dui{iK}l  [rn^mnf]  name  of  a river,  L 
17'*;  iiL  3*^ 

[hiwh]  the  leaf  of  piper  betle, 

iv.  9*°. 

Hqf  ts.  a wave,  unsteady  motion,  i.  18*, 
28*;  ii.  1^,  6^ 

[“f??]  a woman's  name,  iv.  9**. 
[*f^]  waving,  tremulous,  iv.  6*. 
a bold  young  woman,  i.  16*;  ii.  4'*. 
ts.  trembling,  sparkling,  unsteady, 

ii.  30'*,  46*;  iii.  16*. 
fUHtir  waving,  shaking,  i.  15®. 

Hrfk-  [*f^]  shaking,  L 17*. 

frets,  a tree,  i.  20*’;  ii.  42**,  43**,  45*, 
47»,  49*;  iv.  18*°- *®. 


frenr  ts.  fern,  "pl,  young,  a young  man 
or  girl,  i.  30®;  ii.  4'*,  SI**,  45*. 
frefinw-  H.  2.  154.  youth,  iii.  19®. 
r^to  suppose,  guess,  reason,  takke- 
mi,  ii.  29**;  iv.  18**.  takkiadi,  i. 
28*. 

Hfdui  small,  little,  iv.  3*, 

10*. 

fram  [‘aH]burning,  ii.  ll^ 

Hm  [Marathi  frer]  a kind  of  coarse 
silk,  L 20*. 

[’ttt]  so,  thus,  and  also;  taha  vi, 
even  then,  still,  yet,  i.  1®,  9*;  iL 
42*’,  44®,  48*’;  iiL  6*;  iv.  3“-'’,  20**, 
taha,  L 13^  34*- ’’•®>'*;  iii.  20®.  Cp. 
fmr. 

dfiiH.  3.  60.  there,  i.  20****°,  25°;  ii 

05,  29'!,  4213,39.  iii.  317^  53^  9c.  iy. 

18**,  19*’. 

fTT  [rTtfr]  therefore,  then,  L 4**,  6*,  8*,  10*, 
12*,  16*,  18*«-  *’,  19*> «,  20**  *.  *»•  *®.  *♦, 
25*,  28«,  30^  34*«;  ii.  1*,  10°,  11*, 
12^  13^  14\  15^  16\  17^  18\  19^ 
20°,  21°,  22°,  24*,  29’-  *»•  *«,  40*,  41°, 

4211,  19,  21,  26,  32^  43b,  3.  iii  23,  3c,  6,  9 

12*,  20*' ‘"S,  22*' ®,  26*,  33°,  34*.*; 
iv.  2‘,  18*,  19*°.  18.  37.  47^  20*.*°. 
fTTSJ  [htt’]  ear-ring,  ii.  37*. 

1 HT3T(T  ["H]  beating,  i.  2°;  ii.  47*. 
HTrgdmiir  see  ?rg. 

fnr  ts.  loud,  shrill,  radiant,  clear,  shin- 
ing, ii.  21*,  35*;  iii.  2*;  iv.  17°. 
fTRW  [“3fT]  a star,  ii.  17°. 
fTRits.  the  pupil  of  the  eye,  iii.  19*. 
rnrmri?  unselfish  friendship,  ii 
28*. 


Hlfiy  


[140 


HTftn  [°ot]  siu;h,  iv.  22'. 

[’•vn]  youth,  i.  18^  20^;  iii.  16^ 
the  same,  ii.  48*’. 

fTTHts.  clapping  hands,  heating  time, 
time  {in  music),  iv.  ll**,  12^  17». 
[°q=fT]  a fan,  iii.  20‘>. 
frra  ['’n]  heat,  glow,  pain,  ii.  29%  iv. 
21-  2,  7% 

fTiftr-  [^w(\fem.  tasini,  terrifying, 
alarming,  ii.  29'. 

fn,  ftr  [t^]  a,  particle  used  to  report 
the  very  words  spoken  by  some 
one.  The  form  ti  occurs  only 
ajter  anusvdra.  tti,  i.  6%  20^>^“, 
341-15;  gb^  2921,  39%45*>;  iii.  32*; 
iv.  9®>  9. 1".  11. 12,  18^.  19. 20,  193%  2Q15. 
ti,  i.  6%  28%  349;  ii.  29H;  iii.  9i-9; 
iv.  2%  91%  1819.23.3% 

[ftnunis]  having  three  joints,  con- 
sisting  of  three  parts,  iv.  14®. 
frT3xsr  [h1^]  sharp,  strong,  severe,  hot, 
i.  29“ ; ii.  3%  5%  46“. 

[ftr]  three,  i.  4®;  ii.  4229. 
fdfar  ts.  darkness,  iii.  25“. 
frffaH  [“ii]  a certain  plant,  Benincasa 
cerifera,  iii.  24“ ; iv.  21%  22“. 
ff<r<rTg  H.  2.  143.  obliquely,  ii. 
W 

ts.  the  seed  of  the  sesamum  plant, 
iii.  15%  'jala,  water  with  sesa- 
mum seed,  offered  to  the  dead  as 
a libation,  ii.  5^.  °antaraiii,  so 
much  as  a sesamum  seed,  ii.  1“. 
["aF]  a certain  tree,  Clerodendrum 
phlomoides,  ii.  42n,  43®,  452,  4gc_ 
[farsri^]  an  epithet  of  Qiva, 


who  has  on  his  head  the  half 
moon,  ardhacandra,  which  word 
means  also  a clenched  fist,  i.  202% 
ffraftr  [far®]  the  three  folds  of  skin  above 
the  navel  of  a woman,  i.  30®;  ii. 
24®;  iii.  19% 

f?T56r  acute,  hot,  warm,  ii.  50% 
ffTHT%T  [fa  HI  It]  the  third  part  (of  the 
eye,  used  in  the  side-long  look  of 
women),  ii.  5®,  8% 

Fd'gaiii  [faw5R]  the  three  worlds,  i.  10*; 

ii.  101. 

H.  2.  154.  height,  elevation,  L 
34I’;  iii.  6®. 

rTCI. 

HD.  5.  15.  quiet,  silentf 

iv.  20*. 

gfrSH  ts.  having  a protuberant  belly, 
corpulent,  i.  20% 
rmsee 

O 

HTgrftH  [caidaj]  similar  to  you,  iv.  2i% 
HT^,  °H  ts.  o horse,  i.  I81*,  21'. 
dfidUci  quickly,  iv.  I92*. 

fnanr  [°h]  weighing,  i.  20i% 
g^nts.  a balance,  scales;  resemblance, 
i 2012.1*;  iii  3jb 
fiwF  [°5a]  like,  ii.  10"*. 
fm  to  be  pleased.  Caus.,  to  please,  sor 
tisfy.  tuttha,  i.  36^.  tutt^ena, 

iii.  201%  tosida,  ii.  11% 

^ETTt  ['aR]/ros<,  ice,  snow,  i.  14*. 
fTfigiiiaiT  the  moon,  i.  4i>. 

g + %ra  to  descend.  Caus.,  to  bring 
down,  odinno,  iii.  20i®.  odinija, 
ii.  40%  avai^ijam,  L 25*.  avads- 
rladu,  i.  25% 


141] 


— at 


q + feio  give,  bestow,  viinna,  iii.  11®. 

put  away,  samuttarida,  i. 

'30*. 

H.  2.  1 57.  so  much,  i.  1^. 

^ [^]  oil,  iv.  S'*. 

rfrjT  [■’q]  water,  iii.  3®. 

cTnifh:  [h-]  H.  1.  124.  a quiver,  ii.  16*>. 

Hmnts.  an  arched  doorway,  i.  17‘. 

fnsee  fk- 

«f«i  [“fq]  staying,  abiding,  ii.  60**. 

HZ  to  fall  asunder,  be  parted,  tuttaa, 
ii.  4*^.  tudida,  broken,  ruined, 
i.  188. 

fHHthou,  you.  tumam,  i.  16\  19®>*, 

2010.13.25.29^  343.20.30. 

24®,  32S  42>^  47®;  iii.  2\  22^  34*; 
iv.  20®.  tae,  i.  18®;  iii.  30®;  iv.  20®. 
tujjha,  i.  16S  208,  3425.  jji,  2P,  24»>; 
iv.  22®,  23<*.  tuha,  i.  20'®’ ®®- 8®;  ii.  | 
7*,  9®,  lO**-®,  42®®;  iii.  8^  32“ ; iv. 
IP,  21®.  de,Ll4®,  18S  19®,  20®.''.®^, 
32 ‘;  ii.  48®;  iii.  20®,  33“,  34®>;  iv. 
2®,  9®,  18®8,  19®®,  22®.  tumhe,  i. 
20®®;  iv.  18^.  tumhehim,  i.  20®®. 
tumhahimto,  ii.  29®®.  tumhanam, 
i.  18®,  20®®.  VO,  i.  3”. 


H.  4.  16.  to  stay,  cease,  thakkantu, 
iii.  20®. 


[w]  the  same,  ii.  1“. 

TrajT  [fHs4ch]  a bunch,  cluster  of  blos- 
soms, ii.  47®. 

^ large,  great,  iii.  3®®. 
whr  [mrwi]  little,  small;  a little,  L 16®”, 
ii.  P,  11®. 

thtH.  1.  124,  265.  large;  great,  big, 
iL  27*,  44*;  iii.  6*,  lO®*. 


lover,  husband,  i.  24®.  Fern. 
»a,  wife,  iii.  6^  daida,  wife,  L 
288. 

j?nii  [tost]  looking,  seeing,  showing,  i. 
34®'”  ii.  3®,  40®,  42®«>®®.®®,  43*;  iii. 
2P,  31®. 

[°g]  able,  skilful,  iii.  17®». 

grape-juice,  ii.  26*®. 

dfcKaui  [Tfeqr]  southern,  i.  20*8; 
iv.  9*. 

dfcKqiin  [tifatiii]  the  Dekkhan,  i.  128. 
•vadha  [»patha]  the  Dekkhan,  i. 
258,  348. 

sf^giut  [z^m]  present,  gift,  remune- 
ration, iv.  18®®- ®®*  ®®>  ®8. 
srrets.  a stick,  staff,  stalk,  handle,  L 
16®,  32®;  ii.  6®“,  9*,  39®>;  iv.  9®®,  20<®, 
22^ 

^TTSTmts.  a kind  of  dance,  iv.  11®». 
2^ts.  o tooth,  ivory,  i.  14*,  20®8;  iiL 


wqr  [fr]  the  female  breast,  L 2®*,  18®>,  i 
27®-;  ii.  1®,  23^  24®>,  29*,  33*,  44*,  I 
49®>;  iii.  6*,  7<®,  21*;  iv.  6®. 
vm^the  same,  iL  27*. 

H.  2. 159.  having  breasts,  iii.  19®*. 
?i5r  [^q°]  raised  or  rounded  surface, 
L 27^ 


31*. 

rising,  bristling,  ii.  46<®.  ts. 

3UJ  \^]  pride,  haughtiness,  ii.  30®. 
auim  [hw]  a mirror,  i.  18®®. 
sfqj-  [zf^]  proud,  arrogant,  ii.  4P. 
3Tts.  H.  2.  215.  a little,  slightly,  iL 
14®>,  36*,  49^ 


erfr^rnn  — 

poverty , indigence,  Lj 

20*>. 

to  split,  cleave,  dalanta,  ii.  2*. 

+ fsT?c  to  cut,  break,  niddalanto,  ii.  30'. 
ts.  leaf,  petal,  ^29**;  ii.  6^“* 

14^  38^  iv.  5%  21^ 
sra  ['’^]  ten,  iii.  3^®,  26».  Cp.  Zft. 
■d«wif«JT  [dwrq*]  weighing  ten  md$a, 

iii.  5®. 

to  burn,  dajjhanta,  iii.  27®. 
d?  [°'ai]  ten,  i.  18*>.  Cp.  dF. 
d^  [°1\}]  milk,  i.  19'. 
dT^o  give,  dei,  ii.  37'’.  denti,  i.  13®; 

iv.  9',  12®.  dehi,  ii.  42  43'*. 

deu,  i.  3^  dedu,  ii.  1®.  deha,  i 
18®.  daissam,  iv.  20'^  daia,  L I 
20'®;  iii.  4®.  dadavva,  iv.  18". 
dento,  i.  d**.  denta,  ii.  2'’;  iii.  28®. 
dijjae,  iii.  9‘',  33’’.  dijjadi,  ii.  42^'. 
diadu,  iv.  18".  dijjantu,  iv.  21'. 
dijjanta,  iii.  27®.  dijjamana,  i. 
30'.  dinna,  ii.  6’®-^^;  iii.  3®,  104 
dimia,  i.  lO**;  iiL  6’’;  iv.  9®,  18®'>®®, 
21'.  dimiam,  iii.  34’’.  dinnS,  ii. 
16®. 

dTUT  ['•^]  giving,  gift,  donation,  ii  S**, 
47’;  hi  174 
dm  [m:]  a wife,  i.  23®. 
drra  H.  4.  32.  to  show,  daviai,  h. 
36®. 

dra  [<Tra<T]ius#,  now,  truly,  indeed,  i. 
31’,  34®«;  ii  6®^  50’;  hi.  3®,  22®-®; 
iv.  20’^. 

drafhr  [‘■gifM]  a forest-conflagration,  iv. 
24”. 


[142 

! dT^  ts.  a female  slave,  i.  18®,  20®®>  '®; 

iv.  2®,  9’®. 

did  ts.  burning,  h.  10”,  29”,  42  ’;  hi.  204 
fdWd  [ferer]  a day,  i 18”,  21^;  ii  9®, 
10';  iv.  3',  54  64  9”. 
fdcfai  [d?^]  initiation,  iv.  18’4 
fdfsraar  see  d^^- 

[dftd]  a look,  glance,  eye,  i.  18®, 
21”,  28”.®;  ii  1®,  5®,  84  23®,  41”; 
hi.  2',  11®. 

fdin  ["d]  day,  h.  6’®;  iv.  3®. 
fdui'dfiii  [f^°]  the  sun,  h.  504 
fd^  [fdd^]  the  same,  i 21'. 
fd^  [fdiwia]  quarter  of  the  sky,  ii  4”. 
fjdd  ts.  day,  i 34®®;  iv.  18’’,  19®4 
I fd^tr  to  point  out,  show,  dittho,  i.  24'. 
+ m to  point  out,  show,  order,  adi- 
sadi  iv.  9’®,  18’®>  ®®.  adittham,  h. 
26’. 

+ ■(^^0  point  out,  show,  niddisadi, 
ii  29®’.  niddittha,  iv.  18®®. 

+ dJTT^o  command,  direct,  instriut. 
samadittha,  i 10’.  samaditthaih, 
ii.  43’®. 

fedT  [fdar]  direction , quarter  of  the 
sky,  i.  14®;  hi.  25”,  26®,  28® ; iv. 

gs,  9, 10, 11 

IddWTar  [fdmm]  quarter  of  the  sky, 
direction,  i 16*’. 

'S^fto  consecrate,  initiate,  dikkhia,  i 

23®. 

d^d  [°t7]  a lamp,  light,  h.  6’®;  hi  27®. 
d^  [=d]  long,  i.  21*’,  35';  h.  2”;  iv.  9”. 
d^ldCT  [°^]  length,  i.  32®. 
dhl^H.  2.  171.  long,  iL  9®. 
dTftrMT  [dWadd]  a long  lake,  ii  3°. 


dWriiii  ['■fd]  slavery,  service,  iv.  8<’. 


143] 


— dU/iMH 


[%rhi]  secowi,  other,  iii.  17<*. 
aipsT  [3Wh]  a sin,  misdeed,  ii.  8*. 

[g:®]  sorrow,  distress,  ii  8<=. 

35^  a wicked,  malicious  person, 
iii.  20". 

^ [to]  wicked,  i.  20‘®. 

[fs?^^]  second,  other,  ii.  8*. 

TO  [t’vjI  miUc,  milky  juice,  i.  IS**;  ii. 

SJ  *'V> 

6b,  29". 

[t^]  weak,  feeble,  ii.  S'*. 

TO  f?w]  a tree,  i.  17**;  ii.  45^  46'=;  iv. 

U ‘■'O'* 

22». 

TO6  [d^]  H.  1.  115.  difficult  to  be 

SJ  ‘“O 

attained,  iv.  P. 

d^iKgy  [3315a]  difficult  to  be  seen,  iii. 
12<=. 

jmr  [gn:]  a door,  i.  21*;  ii.  42**-*«;  iii. 

20";  iv.  9',  18^8^  193. « 

(ilsee  fe. 

NJ  ^ 

TO%-  [fgaiftn]  having  two  moons,  i. 
34<*. 

afTSdi  [’3]  a daughter,  i 34*®;  iv. 
18". 

[°^]  a female  messenger,  a confi- 
dante, iii.  27<=. 

^ ts.  distant,  far.  Adv.,  to  a distance, 
highly,  entirely,  L 2*,  6®,  208*; 
iii.  1®. 

gsroT  spoiling,  disfiguration,  de- 
fect. i 18";  ii.  23<*. 

^31  [3:']  insupportable,  intolerable,  iii. 
20*;  iv.  2®. 

[to^]  H.  1.  192.  ugly,  hideous, 
iii.  23b. 

TO  to  see.  Caus.  to  show.  Bass.,  to  appear. 
datthuiii,  L 24*.  datthuna,  iii  6®. 


datthavva,  ii.  29^.  daihsemi,  i.  25®. 
daiiisido,  ii.  6**.  damsiam,  ii.  2P. 
disai,  iv.  11b  (Jisadi,  i.  4*,  20*®. 
disae,  iL  30<*.  disadha,  L 4".  di- 
santi,  L 6b.  disadu,  ii.  29".  di- 
ttha,  ii.  40*.  dittha,  ii.  IP,  40*; 
iiL  22'*;  iv.  9®,  19".  dittham,  i 
25'-®;  iii.  2*,  3*.  diUiia,  ii.  5®. 
TOts.  a god;  a king,  i.  18'=,  24®,  34**; 

ii.  11\  22‘,  24*,  26>,  28*,  29*,  41®, 
47*,  49';  iii.  24*;  iv.  9*®,  21®. 

3^ts.  a queen;  Pdrvati,  i.  12**®,  16®, 
18**,  19®,  34*®' **•»«;  ii.  6*®-®8,  IP, 
22®,  28®,  29'-  *“,  42®*-®»*88, 43*®,  47*; 

iii.  8*'  *,  34*- »;  iv.  9®>  *•  **•  **•  **-  *», 

]^Q4,  7,  11,  12,  15,  23,  30,  31^  jg9,  25,  60  23». 

3«a?ffaT  [3?ra]  an  astrologer,  iv.  18". 
d«5fu  [tot]  another  place,  foreign  parts, 

iv.  18^*. 

TOts.  body,  ii.  10b,  ^b.  20‘*«*®. 

dehantara,  another  body,  i.  34®*; 
iv.  19®*. 

[^:'’]  a plantain-like  arm,  iv. 
7=. 

[%“]  having  both  halves,  i.  e.  full 
(of  the  moon),  L 32b. 
fftTgrre-  [fg-]  to  cut  in  two,  to  break. 

dokhandaanta,  i.  15b. 

3hif?  [3t°]  a hicket,  cavity,  i.  29b. 

swing,  oscillate.  dolanti,  i. 

26b. 

jfiHTts.  a swing,  hammock,  i.  21b; 

29®*,  30^,  31<*,  37b,  39®,  40®>  ®. 
3tw»3HT  [a^fTT]  a creeper-like  arm,  iv. 
16b. 

[fgq>TO]  thirty-two,  iv.  11®. 


ts.  the  longing  of  a pregnant 
woman,  the  desire  of  plants  at 
budding  time,  i ii.  45^  47  ^ 

[°9i]  the  same,  ii.  43’’. 
f^two.  duve,  i.  16^,  34^®*^^;  iii.  17®. 
dohirb.,  i.  4®,  30’’;  iv.  12’’.  dohi, 
ii.  18’’.  dosu,  i,  16^.  dosum,  iv. 
7®. 


[vzRTOs]  a flag,  banner,  ii.  31®. 
W a bow,  L 32®,  33'’;  iv.  9®,  20'’. 
vmrs  H.  1.  22.  a bow,  ii.  3'’. 

o 

vjTW  [“u]  religion,  custom,  i.  23^. 
viroram  [vj^dm;]  lawful  wife,  i.  23®. 
wts.  holding,  carrying,  iL  46’’;  iv.  15®. 
vnurlts.  earth,  country,  i.  12®.  "dala 
[°tala]  the  surface  of  the  earth, 
the  earth,  i.  25®. 

vraH  ts.  white,  handsome,  ii.  23®,  31®. 
to  make  white  or  resplendent. 
dhavalenti,  i.  10®.  dhavalia,  iii. 
7®.  dhavalio,  i 29®. 
vwftTJT-  H.  2.  154.  whiteness,  ii.  41’’. 

+ think  over;  make  peace 

with,  anusamdhemi,  iii.  2®.  apu- 
samdhedha,  i.  20’®. 

+ ^to  place,  put.  nihio,  ii.  29®.  ni- 
hiam,  ii.  30®.  nihitta,  i.  4®. 

+ fg^o  bring  about,  arrange,  vihide, 
iv.  18®®. 

vireT  [°^]  assault,  attacking,  ii.  46®. 
vnrts.  a stream,  current,  ii.  9’’;  iii. 

20®,  28^;  iv.  13®. 

>jrfT-  [“fri]  carrying,  iv.  9®>  ”. 
wra  to  run.  dhavantassa,  i.  18’®. 


[144 

[vjymlrt]  introductory  stanza,  L 

I 4”. 

v[^H.  2.  126.  a daughter,  i.  18®. 

^ ['n]  incense,  perfume,  iii.  14^ 

[-TOfa]  a pillar  or  cloud  of 
smoke,  iii.  27®. 

hold,  carry,  contain,  stop,  dha- 
rai,  ii.  48®.  dharantao,  iii.  31’’. 
dharia,  iii.  3®. 

vitsT  washed,  washed  off,  L 26®. 
utd  the  same,  i.  30’. 


5^  to  be  delighted,  rejoice,  ijandantu, 
i.  1®. 

an  to  bow,  make  obeisance  to;  to  sink. 
laamaha,  i.  2**.  9amantl,  ii.  31®. 
?aa,  i.  4®. 

+^to  rise,  ascend,  lunnamanti,  iL 
31®. 

+ be  changed,  ripe,  paripa- 
manta,  i.  8®.  parii;iaaiii,  iL  8®. 

+ vto  bow  down,  panamami,  iv.  19’. 
panamanti,  iv.  18’*. 

aai  to  disappear,  nattta,  iii.  S'*,  pat- 
thae,  ii.  40®. 

+ ff  fo  disappear,  be  lost,  papattts,  iL 
40®. 

af  to  carry,  bring,  conduct,  ^laissadha, 
i.  34®’.  paia,  ii.  11®. 

+ wrfo  bring,  anemi,  i.  26®.  anedL 
iv.  19®®.  apia,  ii.  43®;  iii.  4®.  ai?I- 
adi,  i.  25®.  apiadu,  i.  25®.  ania, 
i.  26'’.  anidaim,  iv.  19”. 

+ aa  <0  offer,  present,  uva^ijjo,  iv.  7®. 

+ xrft<o  marry.  Caus.,  to  cause  to 


145] 


— TTiBJir 


marry,  pariijei,  i.  12^  parine- 
dawa,  iv.  parinaidawa,  iv. 

18\ 

^ to  play,  act.  paccidawaih,  i 4’®. 


xnr  [°z]foot;  pace;  dignity,  rank,  i S**, 
12%  21»;  iv.  IP. 

[TOrfH]  nature,  natural  condition, 
ii.  26®. 

[xrarrfira;]j>rodMCin^,  i.  16’. 
usT^see  q?r+ff. 
xmi?sec  «3+u. 
varus  [v^‘]  impetuous,  iii.  30*>. 
var^  [v3°]po«<ion,  rank,  iv.  23®. 
varor  [usiiufH]  the  god  Frajdpati,  the 
creator,  iii.  17“. 
varos  see  vmi  + u. 
vafrg  [g^t&]  the  fore-arm,  ii  16*. 
uadn  [v^]  evening,  iv.  4^ 
v«  [vto]  dust,  iv.  5®. 

Trav»  [vg]  a wing,  iv.  2*®. 

[vgTfftsi]  a kind  of  drum,  cp. 
Hindi  pakhaiij,  L 4*®. 

VcNnifHe;  see  g^+u. 

vj  ts.  mud,  paste,  i 16*;  ii  8*,  12*; 
iv.  4*. 

["gj  a lotus,  ii  13®,  33*. 
ts.  the  same,  iii.  3*. 
vf^ts.  turUd,  smeared,  anointed,  iv. 

8*. 

qg<)>g  ts.  a lotus,  i 4^,  35^. 

UTri^sa  ['SRa^t{\  dearly,  openly,  i 30^; 
ii  43». 

q^qnr  [q?qq]/res7i,  new,  iii.  I**, 
q^  [grq^H]  on  every  limb,  iv.  9*. 


q^  [q*giK]  behind,  from  behind;  after- 
wards, i 34^^;  ii  6®. 
qf^gq  [qf^grr]  last;  western,  iv.  4®, 
9>®. 

q»g<i^g  see  ^ + q- 
qsgts.  five,  panca,  i 18®;  iv.  4'*, 
9^9.  n.  pancehini,  iii  19*^. 
uvdnea  [^]the  five  products  of  the 
cow,  i 20”. 

I 

qMdU  [’‘u]ffleen,  i 34”. 
qwaun  ts.  Cupid,  ii.  19®,  38®. 
uvdu  ts.  the  fifth  note  of  the  gamut, 
said  to  be  produced  by  the  cuckoo; 
name  of  a musical  mode,  i 16’; 
ii  2®,  5®;  iii  20'^;  iv.  6*. 
qjgHV  [°m]  Cupid,  i 32®;  ii  46®;  iv. 
8“. 

qwig  ts.  name  of  the  country  between 
the  Yamuna  and  the  Ganges, 
the  Doab,  iii.  5®. 
qagrftraq  [°qrr]  a doU,  ii  12®. 
uvdifr^aq  [magifahi]  the  Pdhcalikd  style 
in  poetry,  i 1®. 
qsTO  Cupid,  i.  18®;  iv.  4®. 
q^gr  ts.  a cage,  i 18”;  iii.  31*. 
qg  + S3  Cans.,  to  tear  out , eradicate. 
uppadaissam,  i 20”.  uppadia, 
i 20”.  uppadida,  iv.  2i 
q^  ts.  a garment,  silk  cloth,  i.  36®. 
qgar  ['Vf]  a tablet,  palette,  i 4®. 
q^TO  [q^j^]  a silk  garment,  ii.  14*. 
qgfo  recite,  padhissam,  i 18”;  iii 
30’.  padha,  i 19’*®;  ii  10’.  pa- 
dhiadi,  i 19’. 

qs  ["s]  a garment,  cloth,  i 14‘*. 

qgw  [TiE^]faUing,  iv.  18®. 

10 


i 


TTjTaiTr  — 


[146 


[usi^t]  a flag,  banner,  iii.  20*; 
iv.  20*. 

[nffra^]  a silk  cloth,  i.  20®. 

[u fri-iiyT speaking  agree- 
ably or  congratulating  in  her  turn, 
i.  13^. 

Tjfeftrfenw  [ufH53^5rai]  a dream  in  re- 
turn, iii. 

ufeftear  a mask,  i.  4*,  20“; 

iv.  15*^.  [K,  anukaryanurupavar- 
nanamukha]. 

[a3H]  reading,  reciting,  i.  24'>. 
[aim]flrst,  i.  20®*«  34“ ; iii. 

17=. 

W3T  [aura]  attachment,  iii.  8*,  9®. 
aar?  [aarfa]  a bow,  courtesy,  i.  4*. 
arm-  [amfiR]  attached  to,  joined  to, 
iv.  7b. 

aare  [aaar]  the  bread-fruit,  iv.  22*. 
aarm  [aanw]  a bow,  salutation,  i.  34“. 
uajlfWisT  see  ail'T'jj  + a. 
aftrs^  [aifasRi]  erudition,  Panditship, 

i.  18*.*.®. 

aa^a  lUndya  woman,  i.  15*. 

aas  [a\’‘]pale,  yellowish,  ii.  10®;  iv.  5*. 

aas^  pale- white,  yellowish -white, 

ii.  6^®;  iiL  33*. 

aa#^  [a**ftdi]  riddle  and  answer,  i.  6®. 
mtto  fall,  padai,  ii.  39*.  padanti, 
iv.  13  b. 

fall  down,  to  be  cast  at.  pi- 
vadia,  ii.  5®,  46®. 

+ to  jump  up,  to  emerge,  samup- 
padia,  iii.  3'®. 
a^  ['^]  a leaj,  iL  1®,  7*. 
xiH  [anr]  a dramatis  persona,  i.  4*. 


an  see  saa+a. 

a%3irftrsee  ar+afk. 

a^+^  Cans.,  to  produce,  uppadedi, 

iii.  12®. 

+ fkaio  be  produced,  nippajjadi,  L 
34^®. 

+ become.  Caus.,  to  accom- 

plish, produce,  sampannam,  iiL 
20*>  ®L  sanipademi,  ii.  41®.  sam- 
pademha,  L 12®.  sampadaissadi, 
iL  431. 

+ ^^<0  be  produced,  samuppapna, 
iiL  4®;  iv.  19®*. 
afk  [°ik]  a husband,  L 19^. 
ak?a  [akhi]  a lamp,  iii.  22‘. 
a%  [a^  a line,  row,  series,  iL  1®,  17b; 

iv.  12b. 

asmr  [anwir]  HD.  6.  66.  a mass,  large 
quantity,  ii.  33*. 

awra  [aam]  day-break,  dawn,  iL  6“. 
aw^isnai  [arnrisna]  pleasure-grounds, 
iii.  22®;  iv.  18®®. 

awrar  [a*]  measure,  size,  extent,  i.  16®; 

iii.  3®». 

aa  ts.  other,  different;  intent  on,  i.  18®*®; 

iv.  18*,  22®.  param,  however,  ex- 
cessively,  at  the  utmost,  L 1^  34®®; 
ii.  11*. 

arw  ts.  highest,  best,  ii.  28**. 
amra  ["wra]  truth,  reality,  ii.  22*. 
aaafg-  [“ftsa]  an  epithet  of  Brahma, 
iv.  19b. 

arants.  an  uninterrupted  series,  suo- 
cession,  i.  9b,  18**®-®. 
ar^sT  [‘’Her]  the  cuckoo,  ii.  2*. 
aftanir  attendants,  suite,  i.  28". 


147] 

qfcRnn  testing,  examining,  ii. 

29*. 

qffcKalm  ["erhn]  etnaciafecZ,  diminished, 

ii. 

uRuifd  [“ffr]  maturity,  iiL  4®. 

[‘’TmreTfCr]  dazeling  whiteness, 

iii.  34*’. 

qftiw  ts.  embracing,  i.  2*;  iii.  7®. 

[“qrfj]  order,  succession,  iv. 
le**, 

aftiFfta-  moving  oibout,  iy.  19®®. 

ufitil  ts.  neigJtborhood,  environs,  iii 
19*,  34»;  iv.  7*. 

qfrifra  ts.  jolting,  merriment,  iL  6*. 
tnw  [-n]  hard,  harsh,  i 7*. 

Ti^see  + 

oOtKn  [°g]  invisible,  unknown,  iv. 
18” 

qfhnr  [uiVJi]  each  other,  mutual,  iii 
11®;  iv.  12®. 

[tto^]  a bed,  couch,  i.  36®. 
q?rTOts.  a sprout,  i 26®;  iii  23*. 
qgjjy  [wmw]  display,  diversity,  ii.  40*. 
WWW-  [quvdu-]  to  display,  show,  expand. 
pavaficida,  i 16®. 

Tram  [”5t]  the  wind,  ii  11®,  14®,  36* ; 
iii.  22\ 

TiBR  [toh]  violent,  iv.  1*. 

Trarc  [w“]a  stream,  current,  ii  lO**; 
iii  10®,  20®. 

T7^  [Tram^Jan  interlude  in  a drama, 

i.  6®. 

TOT  polm  of  the  hand,  i 

30®;  ii.  38*. 

Trafe  the  same,  i 16®. 

Trar  [ff“]  outbreak,  course,  ui  20®. 


Tufsf^^ 

j uu4(n  [wj^oin^,  streaming  forth,  ii 
10*. 

Tre^  [u'J  blossom,  ii.  6®®. 

TrersT  \vmz]  propitiatory  offering,  pro- 
pitiation, favor,  i.  4“,  22*,  34®®. 
uoid?  + m [u“]  to  present,  •kidam,  ii.  6®^. 
TTOTT  \a°]  spreading,  iii  11®. 

TTOTgii]  [uOTvra]  decoration,  toilet,  i.  20®®; 

ii.  19“,  22*,  24®. 

Ti^  ® flower,  i 19^. 
ins  [«ti]  way;  reach,  iii.  2**. 

THST  [tot]  l^ht,  splendor,  similarity,  i 

16*. 

TTffPr  [u*]  striking,  shooting,  iii.  7®. 

TJTfra  [TOra]  power,  efficacy,  ii.  6®®,  46*; 

iii.  8®;  iv.  18®». 

TJ^  [to^t]  beginning,  beginning  with, 
i 32<*. 

Tig^see  ?^+u. 

Tj^  [TOfn]  beginning,  beginning  with, 
from,  ever  since,  i.  20®°-®®;  ii  3®. 
tn<o  drink.  Caus.,  to  cause  to  drink. 
piamo,  i 22®.  pianto,  iii.  8®.  pi- 
anti,  iv.  19®.  pijjae,  i 23®.  pij- 
jantani,  i.  16**.  pido,  iii  3**-**, 
paida,  ii  29**. 

TiTW  [°^foot;  beam,  i 4**,  20®°;  iii 
28**. 

Tnwsrf  [TiTJns?i]  the  extremity  of  the  fed, 
i 14<*. 

TTTSTTT  [Trrarrt]  a rampart,  wall,  ii  31®. 
TiT^  [umr]  the  Prakrit  language,  L 
7*. 

Tira^  the  same,  i 6®. 

Tnf«f«>tfl  HD.  6.  77.  emulation,  rivalry, 

i 10®,  20*®.®®;  ii  10®. 

10* 


[148 


mfesTT  [qifesJiTj  a reciting  or  reading 
woman,  iv.  9^^. 
iiTTir  [irnn]  life,  soul,  iii.  8». 
tuftu  ts.  hand,  i.  27“;  iii.  23®. 

TTTRT  ts.  a lotv-caste  man,  i.  20^®. 

UTCraJT  [°«t]  a pigeon,  iii.  27^ 

[°s]  coral  tree,  iv.  22*. 
tira  + utnio  guard,  observe,  padivale- 
du,  ii.  41^ 

capital;  a treasure;  a paragon 
of,  ii.  S'*;  iv.  19  *•  {K,  bhaiigipra- 
karah  palayitrka;  yadva  palittaa 
iti  de^ipadam  raulanivyaiii  varta- 
ta  iti  sampradayah.) 
qr^  [°vg]  side,  flank,  ii.  36'’,  46'’. 

[imifT]  a present,  gift,  ii,  7®. 
fqsee  fg. 

fqar  [ftni]  dear,  beloved,  agreeable,  i.  1'’, 
3®,  15^  161;  ii  27<=;  iv.  2^,  221-1 
fqarg^TO  [fqqgqw]  a dear  friend,  i. 

1811,  2039,  32*.  ii.  610,  iQo,  412,  432. 
iii.  23,  2Q1,  341 ; iv.  91. 
fqsTO^  [fuq«*5il]  a female  friend,  a 
lady’s  corfidante,  ii.  8*,  42''’>  1®; 
iii.  3Q3,  343. 

[qj]  ripe,  ii.  50‘i. 
ts.  yellow-red,  ii.  50'*- 
ftreats.  tail-feather,  ii.  14®;  iv.  14'’. 
fqjSRts.  reddish-yellow,  tawny,  gold- 
colored,  ii.  8®,  12®;  iii.  25'’. 
firos  ts.  mass,  ball,  i.  35®. 
fqviTqj  [°g]  covering,  iv.  IS'®, 
famn  r“»T!T]  slanderous,  iiL  9''. 
fqrnu-  [°^^-]  to  indicate,  pisunaii,  ii. 

24^.  pisunedi,  i.  20*. 
fq^  [ij^]  broad,  large,  iv.  9^. 


q^  to  press,  squeeze,  pidio,  iii.  1^. 
q^tJ  [°'^]f<d,  round,  L 18'’;  iii  7®. 
qf^3T  ["ri]  furnished  with  feathers,  ii 
3*1;  iv.  20<i. 
ufgg  the  same,  iv.  9*. 

heap  up,  collect,  punjijjai,  iii 
26'*.  punjia,  i Id**. 
q35!  ts.  heap,  multitude,  i 19'*;  ii.  46^. 
^ see  ^yar. 

q^  [q^s]  the  back,  ii.  39*’. 

uui4Hg  revived,  refreshed,  iii. 


201". 

qqft  [qsTTjo^am,  back;  on  the  other 
hand,  i 34^1 ; ii.  3®,  5®,  6*’'i3,  26®, 
28S  49*’;  iii  17'*;  iv.  18*1, 192*. 
punu,  ii.  23'*;  iii.  9®,  14'*.  Op.  3qi. 

q?5  [^]Jilled,  full,  accomplished,  ful- 
filled, i.  20'*;  ii.  41'*;  iii.  19®;  iv. 
23*’. 

gftjWT  [ffiW]  the  day  of  fuU  moon,  i. 
25®,  34'*;  ii  O**,  291".**;  iii  20*5; 
iv.  19®*. 

qg  [°g]  a son,  i 18®,  I91;  iv.  2*. 

UnrHslT  [■’■fecRT]  a doll,  iii.  20®;  iv.  18®«. 

qg?  [°^]  a daughter,  i 20®®;  iv.  19®*-*®. 

qr^  [°fra]  before,  in  the  presence  of, 
i 18*1,  19*- «,  20®®;  ii.  10«,  29*;  iii 
30®. 

qv^  [»5^]  an  dderly  married  woman, 
i 16®. 

ywy  preceding,  i.  20i*-*i. 

qftq  [°w]  a man,  i,  7*’. 

qd  [qro]  before;  formerly,  iii.  1®,  22®; 
iv.  19®. 

q5i%T  [°qi]  horripilation,  thrill  of  joy, 
iv.  21'*. 


149] 

gsnr-,  55^%?-,  H.  4.  181.  to  look,  behold.  I 
puloesi,  iii.  8S  pulantia,  ii.  I**. 

horripilation,  i.  15*. 
ts.  a man  of  a certain  barbarous 
tribe,  a mountaineer,  iv.  H**. 

Tna  [ja]  eastern,  i.  14^;  iii.  26**;  iv.  Q''. 
^ ts.  a stream,  flood,  iii.  28*. 
ym  ts.  filling,  i.  34^*. 
a to  flu.  puriae,  i.  4^ 

[<i^]  nectar,  iii.  20^ 
see 

[uf^]  si4?M«5r,  shaken,  i.  21*. 

^ [wwst]  love,  affection,  iii.  8^*  *,  9*-  *■  *, 
12»>-  ^ IB**. 

arvr?  [ua^]  circuit,  border,  iii.  IP. 
[uir]  artificially  made  pleasant, 
seasoned,  iv.  5**. 
name  of  a poet,  i.  20*“. 
atna  garment,  cloth,  i.  27*»;  ii.  24®. 
xitraH  [TOra»]  a book,  i.  18*. 
uiKfM  [uuqim]  H.  1.  170.  the  areca  nut, 
iv.  5**. 

tftwnar  [u^ti^i]  a ruby,  ii.  15*;  iv. 
18“. 

a®  to  aek.  pucchami,  iii.  8*.  pucchis- 
sam,  i.  4'*.  pucchia,  i.  34\  pu- 
cchlanti,  i.  18^®. 

TKF  [wTff]  touch,  contact,  iii.  24’’;  iv. 
21®. 

a Hindu  month  corres- 
ponding to  Fd)ruary- March,  i. 
20*“. 

^KiiTts.  the  hood  of  a serpent,  i.  20’’. 

[°?tt]  the  betel  plant,  i.  17®. 

TFT3T  HD.  6.  82.  a shield,  iv.  9“. 


shaken,  swung,  iv.  9“. 
qifor  [wn]  touch,  contact,  iv.  6®. 
rf^ts.  fruit,  result,  ii.  6*®;  iv.  21*. 
ijRTar  [°*]  plank,  shield,  expanse;  L 30’’, 
32’’;  ii.  15*,  23®;  iv.  9”. 

a crystal -stone,  ii 

29’\ 

TITS  see 

iJiR  /ar^re,  great,  i 20’’;  iii 
19*. 

tirssee  fj»3. 

^ dear,  white,  clearly,  evidently, 
ii.  12’’;  iv.  22**. 

to  open,  blow,  blossom.  Intens.,  the 
same,  phullanti,  ii.  49’.  phuUai, 
ii  38*.  pamphullia,  i 16^ 
ts.  a flower,  i.  19*. 

[^r^j  a shriek,  howl,  iv.  15*. 

a'frH  see  Cp.  Marathi  baila. 

W3HWTHT  [5^°]  name  of  a woman , iv. 
9’“. 

aipr  [5^]  HD.  6.  89.  a jest,  ii.  6“. 

name  of  a woman,  iv.  9”. 
arfj^-  [°fvT^]  o panegyrist,  bard,  i.  16*-*. 
■5RJ4-^#o  bind,  close,  nibaddham,  iv. 
9^ 

avqts.  arrangement,  literary  composi- 
tion, posture,  i 6*,  7*;  ii.  4®;  iv. 
11»,  12”. 

[ar“]  a kinsman,  friend,  i.  16®. 
ai5g-  [asR]  the  god  Brahma,  i.  24*. 
a*^ui  [ar^TTir] /em.  »ni,  a Brdhmana; 
fern,  the  wife  of  a Brdhmana,  i 
204.26.33.  43.  8’. /ew.  i 20®'’. 

aft^-  [af^]  a peacock,  ii.  15”. 


dw  I 


[150 


perforce,  violently,  I IS**; 
iv.  22', 

5^ts.  an  oblation,  iv.  15*. 

*rg5Tts.  copious,  abundant,  i 13*,  20^; 

ii.  3®,  37*;  iv.  21<^. 

srfigftirsff  [wftifsraiT]  a sister,  i.  3422.25,32.36,38. 

ii.  62*,  9*,  1Q2.*. 

+ iR  <0  value,  esteem.  »mannedi,  i. 
2S\ 

[°to]  often,  14*;  ii.  29^ 
t<T jftr^arr  HD.  6.  92.  a doU,  iv.  19®®. 
armts.  an  arrow,  ii.  11';  iv.  13^ 
srru<o  harrass,  torment,  bahanijjo, 
iv.  2®.  baha^iijjS,  iv.  2*. 

5T5T  ts.  young,  new,  i.  13',  15*;  ii.  41^ 

4229,  45a^  49a.  19d, 

['fe]  a young  poet,  i.  9*. 

5THS  [“Bi]  a tear,  ii.  9®,  10<^;  iii.  20®. 
grfer  [gf^]  H.  2.  140.  external,  L 34®“. 
ts.  an  arm,  i.  30*>;  iv.  12*. 
ts.  a shoulder,  ii.  24*. 
farats.  a drop,  i.  26®;  iii.  3”,  4*. 
ftirats.  the  Bimba  fruit;  the  disk  of 
the  sun  or  moon,  i 13*;  ii.  20®; 

iii.  25'*,  32®;  iv.  3®.  saibpurnia- 
bimbattana  [sampurnabimbatva], 
fullness  of  disk,  iii.  25**. 

ts.  the  fibre,  fibrous  stalk  of  a lo- 
tus, iii.  20*;  iv.  7'. 

^|UtH.  4.  101.  sinking,  inclining,  ii. 
31-*. 

^+fg  awoZren.  vibuddho,  iii  7**. 
wt?rH.  4.  162.  Cans.,  to  pass.  boWi, 
ii.  29<*. 

^ H.  4.  2.  speech,  words,  ii.  4'. 


wsra-  [wTraffl/em.  “vsidi, favored,  exalt- 
ed, venerable,  holy,  i.  202’;  ii  62®; 

iii.  3**;  iv.  IS*®.®^,  19*.  *2. 
ts.  breaking,  i 28*. 

ts.  bending,  iv.  9*. 
ts.  fragile,  iii.  21*. 

MTauHrid  [wraff^]  enslaved  by  women, 
a hen-pecked  husband,  iii.  2*. 
vmto  break,  bhanja,  iii.  21*. 

Mg-  [m^  a lord,  master,  iv.  9*®,  18®>  22. 
MgTOT  [°3?]  venerable,  worshipful,  iii 
202®. 

MTir  to  say,  speak;  name,  call,  bhanami, 

ii.  47®;  iv.  7*.  bbanasi,  i 202®; 

iv.  19®*.  bhanadi,  i.  342®.  bha- 
nimo,  ii  23'*.  bbapamo,  ii  48*. 
bhananti,  i 24*;  iii.  9*- 2.  bha- 
na,  i 20”,  25*.  ®;  ii.  6^,  40*,  47®; 

iii.  8®;  iv.  4*.  bhapaha,  ii.  16®. 
bhania,  i.  34®®.  bhapantassa,  i 
20®“.  bhanpai,  i 5*,  6*.  bhapl- 
adi,  i 20*' 20;  ii  10*.  bhappae, 
iii  12®.  bhapida,  ii  42®*.  bha- 
pidam,  i 7*;  iv.  2®,  18**- 2». 

MPSM  [Mnrewja  sinall  vessel,  cup,  i 
202®. 

M^-  [Mq]  ^t<s6and,  i.  11®;  ii  8®. 

Mi^  [-g]  happiness,  blessing,  i 1*,  20**; 

iv.  S'*. 

MMPI  [«•]  shaking,  moving,  ii.  1®. 

MMT  [m"]  a bee,  ii.  13®;  iii  2®. 

MMidPST  [h°]  having  an  utisteady  char- 
acter, or,  having  a scar  like  a 
bee,  i 18®.  {BNJ,  bhramapa^lla; 
P,  bhramaravat  tito  yasyah.  teto 
ni  madhyasthitop]  mapivi^e^ah.  ti- 


161] 


— 


ta  bhlsa^a;  O,  bhramarasadr<;ena  j 
tetakbyaguliyagena[!j.  teta  aksi-| 
golakam  iti  kecit;  A'.bhamarateiii- 
te  ity  etad  de^lpadaih  mustipra-  j 
haraprarudhe  ve^yorahkipe  var- 
iate. bbramaravarnakinamapau. 
tatha  ca  prayogah.  teuitavaloka-  j 
nakutuhalabliamgabhirur  iti.  yad- 
va  bbramaranam  vitauam  temta 
bhuyate.) 

[“hJ  abode,  dwelling,  house,  ii.  6^*; 
iv.  19“'”. 

wfew  [”in]  what  is  to  he,  the  future, 

i.  18. 

w^rHD.  6.  101.  a bee,  L lO'  **;  ii. 
44'». 

WT  to  shine,  seem,  appear,  bhai,  i.  23^ 
33^-,  in.  31\ 

f?j  the  same.  vibhS,  ii.  41**. 

[«Tri]  a brother,  i.  20*®. 

[»T“]  walking  round  from  left  to 
right,  iv.  21*. 

WTTts.  a burden,  weight,  mass,  i.  18*; 

ii.  21*;  iii.  21*. 
wrfm  [wraf]  a wife,  L 12*. 

»TO  ts.  being,  condition;  feeling,  senti- 
ment; a venerable,  worthy  man 
{term  of  address),  i.  4*®,  5*;  iL  10«, 
50»>;  iii.  10^  20*». 
wraftiTOsee  w. 

Ck 

WRTT  [*m]  language,  dialect,  L 7*,  8^ 
ftn??rr  [<>^]  alms,  I 23«. 
fiqf  [h*]  a bee,  i.  29*’;  ii.  6*. 

[vtw]  a servant,  slave,  I 33<*. 
f»z  + '^pass.  to  shoot  up,  be  raised. 
ubbhijjadu,  iii  20*. 


-f  to  tear  up,  break  through,  nib- 
bhii.inassa,  iv.  18**. 

a paramour,  gallant,  i. 
14^. 

vraa  the  birch  tree,  iii.  26**. 

MTOrsi  food  for  a cat,  iv.  2*.  ( 0,  bhut- 
thallah  majjarle  bhuttL  bhumi- 
patanayogyah ; bharitrayogya  iti 
va  bhuthir  iti  bha§ayam.) 

H.  4.  177.  erring,  oblivious,  iv. 
20*®. 

Mwn  ['^]  the  world,  iiL  26®,  28®;  iv. 
20*. 

vto  be,  become.  Caus.,  to  cherish,  af- 
fect, win.  hosi,  i.  19\  hoi,  i.  7*,  8®; 
iv.  23*.  bhodi,  i.  20**,  34'*;  iv.  3*, 
18**-**.  honti,  i.  21<*;  ii.  10<*,  49*; 
iii.  19'*;  iv.  2*°.  hava,  iii.  23*. 
hou,  i.  1*,  8®;  iii.  23®;  iv.  S'*,  bho- 
du,  i.  14^  20**'!",  34«;  ii.  49*;  iii. 
3^  22*,  24*;  iv.  19^^  21«,  23*.  ha- 
vantu,  iii.  24®.  bhavissani,  i.  13*; 
ii.  28*.  hohii,  ii.  39*;  iii.  32*. 
bhavissadi,  iv.  18®*>**.  bhavia,  L 
20*^;  ii.  9*,  32“;  iii.  3*®.  bhavi- 
dawam,  ii.  42“.  bhavanijja,  ii. 
26<=. 

+ fo  enjoy,  experience,  feel,  anu- 
bhavidam,  i.  34*®. 

+ HU  <0  arise,  be  born.  Cans.,  to  honor, 
show  respect  to;  to  fancy,  ima- 
gine. saibbhudanam,  i.  18®.  saih- 
bhavehi,  iii.  20®*.  sambhavais- 
sadi,  iiL  20*®.  sambhaviadi,  iv. 
2**. 

*prtrf  ts.  terrestricd  globe,  iii.  25*. 


— 

o 

an  earth-moon,  ii.  27*’. 

^ftr  ts.  earth;  ground,  i.  25*^,  34^®. 

[°3Frr]  character,  costume  in  a 
'play,  i.  12®. 

cellar,  underground  cham- 
ber, iii.  25®. 

wafo  adorn,  decorate,  bhusida,  ii. 
IP. 

the  same,  vihusaanti,  i 31“.  vi- 
husia,  ii.  22'’. 

[’trar]  ornament,  decoration,  i.  30®, 
31'>;  ii.  23<i,  25®;  iii.  15^  26'’. 
to  fid,  pervade;  have,  possess,  bha- 
riam,  iv.  23'®.  bharida,  iii.  20®. 
M3T  [°3]  1-  splitting,  wound,  iii.  11''. 
2.  difference,  iii.  15*=. 

[w^<yi^]  narm  of  a yogin, 

i.  2P,  24®,  34®5.3®.®s;  ii  6®®;  iv. 

29,  31,  34^ 

wt  [wt^]  a vocative  particle,  0,  sir,  i. 
18®,  34®0;  ii.  24®,  29®®,  32®,  43®,  44®, 
47®;  iii.  2®,  3S  8®,  9®,  22®,  26®;  iv. 
20®®,  21®. 

wtagi  [°5q]/ood,  meal,  i.  23<=. 

[iracff]  honorific  pronoun,  used  as 
term  of  respectful  address  to  wo- 
men, ii.  42®;  iii.  20®®;  iv.  18®. 

»hT  to  fall,  decline,  decay,  bhattho, 
iii.  8®. 

to  whirl,  swarm  round,  bhamiarti, 

ii.  13^ 

+ qfr^o  wander  about,  turn  round. 
paribbhamantlu,  iv.  11®. 


[152 

'’War  [°u]fem.  “mai,  made  of,  consisting 
of,  i.  36®;  iv.  18®®,  19'®. 

[*CTral]  a deer-eyed  woman,  ii 
46<=;  iv.  16®. 

wamr  [“Sst]  beeswax,  i.  13®.  {K,  hima- 
vranopa^amanartbam  hi  madhu- 
ccbistam  adhare  dadhatiti  loka- 
prasiddbih.) 

waro  [°2r]  love,  Cupid,  iL  10®,  16'’,  33^ 
36b,  45b.  iii.  12b.  d igd^  21b,  3Qb; 
iv.  1®. 

the  same,  iv.  20®. 

waTT^ar  [»Tchima]  the  same,  iL  49b;  iii. 
9®,  20® ; iv.  19®*. 

warrassw  [weRT^nsaR]  the  same,  iiL 
26®. 

7TaiH9«(!i  the  moon,  iL  47b; 

iv.  18®®. 

inrn  spirituous  liquor,  L 20®*. 

jrafk  head,  i.  4®. 

TTO  \m'^]fiesh,  meat,  i.  23b. 

[jm]  way,  doctrine,  i.  22b. 

mniij  [wnr^]  an  arrow,  i.  32'®. 

airier  ts.  name  of  a woman,  iv. 
9®®. 

U55J  [“Si]  spirituous  liquor,  wine,  L 
22b,  23b. 

[r]  bathing,  iv.  4b,  8b. 

[nggR-J/ew.  <>li,  keeper  of  a 
bath,  iv.  9®®. 

ffydrrftaff  [irrafftwr]  a cat,  ii.  29'®. 

mg’  [“an]  the  middle,  centre;  the  waist, 
majjbe,  between,  among,  i.  8®,  18®, 
20'®,  30®;  ii.  6b,  20b;  iii.  4*^  7.^  19b. 
iv.  18'®. 

['='«ra;]  the  same,  iii.  21®. 


madness,  rut,  ii.  6®®. 


153] 


— JTtH 


Wraqy  midday,  ii.  41®;  iv.  4*,  8*. 

jifi?rw  [ \mf]  central,  i.  14'. 
w^frts.  a shoot,  sprout,  Jlower-bud, 

ii.  46'*;  iii.  IS**. 

Jif^  [mfsaresj/m.  red  as  mad- 
der, ii.  41*. 

[»ist]  munjeet  or  madder,  ii. 
50. 

Wjsrfrts.  an  anklet,  ii.  13*. 

W5^ts.  lovely,  sweet,  L 18'=;  ii.  30. 

['Ut]  a box,  casket,  iv.  19’®. 
will-  [’5Tw]  mind,  thought,  desire,  L 14’’; 

ii.  32  ’;  iii.  10^  ll^  12»,  28’’. 
wiir  ['STTcp]  a little,  slightly,  iv.  9*=. 
wmgiui  fascinating ; fascination, 

ii.  28^  310. 

wftirts.  a gem,  jewel,  i.  34’\  36*;  ii.  9\ 
15*,  25^,  29’®,  32“  33^  34’’;  iii.  2*, 
18*-”;  iv.  10^  13*. 

wijffftr-  [“jfffijw]  clever,  wise,  iv.  24*. 
wujl3i*Hiu  [Miu-diu]  checking  the  mind, 

iii.  16’’. 

wiiiixii  ['sftir]  beautiful,  iii  27®. 
wintw  [“STtw]  Cupid,  iv.  IS**, 
wiiikvi  [°5Tkw]  wish,  desire,  iii.  8’. 
wnfk?  the  same,  iv.  90. 
wnrtia  [°5ftwg]  Cupid,  iii.  IQO,  20’®. 
wirsur  [“sf]  an  ornament,  embellishment, 
trimmings,  i.  3*,  28*;  ii.  47®;  iii 
12’>*  ^ 13^  26*;  iv.  20®. 
wns5Tt3.  a globe,  ring,  disk;  a group, 
collection,  i 3.5“;  ii.  30“;  iii.  5*,  31*; 

iv.  23^ 

wuiw?  ts.  the  same,  iii.  23’’,  26^ 
wnici  [°xi]  a hall,  arbor,  i 36o. 

Wrnra  [wTf?*]  the  sun,  iii.  3’*. 


wfa^Tiggil  [offl]  name  of  a woynan,  iv.  9’”. 
w^  [w^]  a kind  of  drum,  iv.  16*. 
ww  to  be  minded,  think,  mannemi,  iii 
4’.  manne,  i I30,  30*,  330;  iii 
16®;  iv.  2*.  mapnedi  i 28®.  map- 
nantao,  ii.  8\ 

+ 3rfw<o  honor,  bdove.  ahimada,  ii 

6”. 

+ 3T^^o  despise,  disregard,  avama^- 
nida,  i 14®. 

wvtT  a Vedic  hymn;  a charm, 
sped,  i 22*;  ii.  6®®. 

wsw-  [w^era-]  to  consult,  deliberate,  talk, 
mantaantassa,  ii  6’®. 
wvwT-  to  grow  slow,  to  decrease,  man- 
tharijjantu,  iii  20®. 
ws^ts.  soft,  gentle,  i 17^ 

[’rffj  name  of  a woman , iv. 
9’®. 

wjwvi  [^wra]  Cupid,  iv.  2’.  Cp.  gwn?. 
wtiT3T  cm  emerald,  ii  13*;  iii  2*, 

wuiduyrf  a place  or  seat  adorn- 

ed with  emeralds,  emerald-arbor, 
ii  29^  41’,  42®®-®’,  43®;  iv.  18®. 
WT^  HD.  6.  120.  pride,  elegance,  charm, 
ii.  23®;  iii  30*.  {K,  ii.  23®  vilasa.) 
wv^a  Mardtha  woman,  i.  16*. 
wwiT  [’a]  name  of  a mountain-range 
of  South-western  India,  i 150, 
16®.®,  20. 

wf^mr  [°!f]  black,  dark,  iii.  25*. 
wfi^wr  [’grr]  a kind  of  jasmin,  i.  16’’. 
w-H^Tgj  [°g^]  a boxing-match,  ii.  21’’. 
JTWTnr  [vwajH]  a cemetery,  iv.  15’’. 
wiw  ts.  lamp-black,  a black  powder  used 


to  paint  the  eyes,  ii.  7’’;  iii  32*>; 
iv.  14“. 

ITS  H.  4.  192.  to  tvish,  long  for.  ma- 
hijjai,  iii.  9'. 

['”grfarT]  praised,  i.  34^®. 

Wlwf  HD.  6.  143.  old,  elder,  ii.  9^ 

ts.  a great  queen,  queen-consort, 
i.  28\ 

[®HTnFTOr]  a great  Brdhmana, 

i.  2Q29. 

wifTTO  [°mJs]daintyflesh,especiaUy  hu- 
man flesh,  iv.  15*. 

[°^]  a great  cloud,  iii.  3^^ 
tTBRiar  [-si]  a great  king,  i.  12*,  28^; 

ii.  0*,  1®,  6*2,  9*,  42**.  *«.”.*«.  2*;  iii. 
3Q2,  34®;  iv.  18*.  2*,  19«<>.62,  20®. 

»T6i2a!STnT?  [“Saiu-fjl]  a great  banner  of 
victory,  iii.  19<*. 

[°«Trf5T]  the  face  oj  the  earth, 
the  earth,  iii.  14®. 

the  king  Mahendra- 

pdla,  i.  6**. 

wfts^ri  ts.  a woman,  i.  7**,  22**,  25*. 
tifisfll  [“tj?]  a buffalo-cow,  i.  19*. 

UTE^  ts.  the  earth,  ii.  22**. 

[w]  the  surface  of  the  earth, 
the  earth,  i.  34**;  ii.  10*. 

['^]  the  spring,  ii.  5*’,  6** ; iv.  7^, 
19®*.  mahusava  ['dhutsava],  the 
spring  festival,  i.  16*. 

[•^]su^ee<,  charming,  i.  282,  30a. 

iii.  1*. 

[wgm-]  to  become  sweet,  mahu- 
rijjai,  ii.  26^. 

n^w-  H.  2.  164.  sweetness,  beauty, 
ii.  2\ 


[154 

[«^r«€i]  a great  J estival,  L 18**; 

iv.  9*’,  21®. 

jugglery,  ii.  44*. 
[°^fxra]  a great,  efficacious  herb, 
iii.  20'*. 

mts.  a prohibitive  particle,  not,  i. 
20®.  **.**.  *2;  ii.  6*,  39»,  40*;  iii.  8®, 
21»,  32*;  iv.  4*. 

the  Mdgadhl  style  in 
poetry,  i.  1®. 

jrnir  pride,  jealous  anger,  i.  16*>, 
18*;  iii.  30*. 

muw  [“TO]  mind,  heart;  name  of  a 
sacred  lake,  ii  6*®,  60*>;  iii  2"*;  iv. 
23*  (rosakasaamanasaval  [rosa- 
kasayamanasavatl],  having  her 
mind  affected  by  anger). 

TnfiuiF  ['93]  a ruby,  i.  202®;  iii.  15a  j iy. 
19®». 

['wmro]  name  of  a bard, 

iii.  262. 

['9TOTO]  name  of  a woman, 

iv.  9*®. 

i4irujui1  [“fro?]  an  angry,  jealous  wo- 
man, ii.  60**;  iii.  27“*,  30*. 

WT^  [°to]  a man;  mankind,  the  world 
of  men,  i.  3P;  ii  26*;  iii  8*,  14**, 

162;  iy_  23**. 

['q]  a mother,  i.  20*®. 

'cchia.  H.  2.  142.  a mar 
ternal  uncle,  fern,  aunt,  i 34*®>  **. 
['H]  wind,  i.  16*. 

['H?]a  great -flowered  jasmin, 
iii.  2**. 

wrar  ts.  a garland,  chaplet,  row,  string, 
i 20»;  ii  6^  13^  20*;  iii  18*>;  iv.  9>®. 


155] 


wrf^  [°«t]  the  same,  i.  11‘,  17‘;  iii.  2*’. 
WTO  [•»]  a weight  of  gold,  iii.  3‘®. 

WTO  ts.  a month,  iv.  S'*. 

WTOOT  [°f[TfW]  majestg,  dignity,  i.  S'*. 

moon,  ii.  42*;  iiL  21*, 

26'*. 

rwA<|;*4fuj  [*inr]  the  moon-gem,  supposed 
to  ooze  away  under  the  moon's 
rays,  iv.  18^*. 

name  of  a woman, 
iv.  9®.  'kadha  [“katha],  the  story 
of  Mrgdhkalekhd,  a poem  of  Apa- 
rdjita,  i.  8^ 

[W3°]  a kind  of  drum,  L 4*. 
fngrror  [*t»dra]  sweetness,  iii.  14°. 
fw^  [“TO*]  a pair,  couple,  iii.  9*. 
firoto  join,  combine,  milido,  iL  6**. 

milidam,  L 34®*.  milidassa,  iii.  9*. 
faginir  [j^rroj/oded,  udthered,  ii.  6*®. 
•fwwT  [°»T?r]  under  the  pretext  of,  in  the 
disguise  of,  i.  18°;  iv.  22**. 

[°^]  u pair,  couple,  i.  14"*. 
wl^j  to  be  dosed,  mllanta,  i.  35**. 

+ TOi  close  the  eyes,  sammilianam, 
iii.  7^ 

+ W^<o  become  manifest,  sarnum- 
mllaa,  i.  31**;  ii.  25*. 

['’■g<*53]  name  of  a tree,  iii. 
25°. 

w^  [■^]foolish,  i 18®. 

^^o  loose,  let  go,  quit,  muncaha, 

i.  18*.  muncanto,  ii.  50**;  iii.  25°. 
muccanta,  iii.  27’’.  mottuna,  iii. 
3**;  iv.  13*.  mukka,  ii.  6*®;  iii. 
34*.  mukko,  iii  10*.  mukka,  i. 
29*,  31*. 


+ 3TO<o  loosen,  tcdse  off.  avamukka, 
i.  28*. 

+ loosen,  shed,  ummukka,  iii. 
28'*. 

w^  [w^]fainting,  swooning,  i.  35**. 
^ ("fe]  the  clenched  hand,  fist,  i.  30“ ; 
iii  19^ 

wnrH.  4.  7.  to  know,  think,  under- 
stand,  mmiasi,  iii.  8*.  mupiadi, 

i.  28*.  munido,  ii  48*. 

TOirra  [w]fem.  *li,  -lia,  a lotus-fibre, 

ii.  6*®,  11°;  iii  20®. 

^ [TOfii]  a pearl,  pearl-oyster,  i 29**; 

iii.  3’®. 

[°T*n»ir!]  a pearl,  iii.  3*®,  4‘,  5*. 
•ttana  [“tvaj,  condition  of  being 
a pearl,  iii.  4*. 

Hwnjftnro  abounding  in,  or 

consisting  of  pearls,  i 4°;  iv. 

10*. 

wfk  [°f^j  rdease,  final  emancipation, 

i.  24*. 

[-jt]  a seal,  stamp,  token,  i 33°; 

ii.  2*,  41*;  iii.  9**. 

wfi^  [“'few]  sealed,  closed,  i.  35**. 

^ foolish , innocent;  charming, 
lovely,  i 16^  IS**,  34®;  ii  26*;  iv. 
21*,  22*. 

price,  iii.  5’’. 

^ [“*3r]/e»».  “muhi, /ace,  mouth,  open- 
ing; beginning  with,  i.  13°,  20®*>®®, 
24*  26*,  34<*.®;  ii.  10^  17^  27^ 
32^  47”;  iii  9<*,  21*,  22®,  25”,  28* 
33*,  34”'®;  iv.  23”. 

w^  [°^^]  noisy,  tinkling,  ii  32”,  34*. 
wi^g  [°^^]  ® moon-like  face,  ii.  30<*. 


— 

cv 

^ts.  root,  ground,  i.  4^  16';  ii.  2^ 
24=^;  iv.  2‘,  IS^o.^s. 

to  die.  Cans.,  to  MU.  mudo,  i.  20“. 
maranijja,  ii.  5*>. 

to  pt^rify,  cleanse,  majjida,  ii.  11®. 

4.  91.  to  loosen,  emit,  to  be 
emitted,  mellanti,  iv.  22^. 

W15TT  [”^t]  a girdle,  flank  of  a moun- 
tain, i.  20»;  ii.  32*’;  iii  13»;  iv.  7^ 
[°^] final  emancipation;  scatter- 
ing, strewing,  i.  22^  24"*;  iv.  21*. 

[«Tfag>]  a pearl,  ii.  17“;  iii.  4\ 
20\  27**.  ®ttana  ['tva],  condition 
of  being  a pearl,  iii.  4^ 

['cr]  sweetmeat,  iii.  8*. 
jik  a peacock,  iv.  14*>. 
wife  ]fl\'‘]head,  i.  11=-;  iv.  20’. 
wlgur  [°^]  bewildering,  one  of  the  five 
arrows  of  Cupid;  coitus,  love,  i 
2^  32^;  ii.  32<*;  iii.  26'. 


tizwho,  which,  what;  that,  when,  be- 
cause, in  order  that,  jo,  i.  6%  19’, 
21®,  34*®;  iii.  12».  ja,  i.  8^  19’; 

ii.  23'’;  iii.  15»;  iv.  9®.  jaih,  i.  13', 
19’-®,  20”.  2®,  21',  25-*,  26“.'’.',  29% 
34”.  ii.  3%  6*’,  7%  8%  11%  27', 
28%  46',  47*;  iii.  9',  16%  23'’;  iv. 
4',  9*%  18*®.  ”,  19®’,  22».  % 23% 
jena,  i.  18®,  20”,  34®%  ii  8%  42”, 
44’;  iii.  lO**,  34®;  iv.  18”.  jenam, 

i.  32'*;  iii.  13%  jia,  ii.  41%  jassa, 

i.  9%  10%  18’;  iv.  3',  20%  jissS, 

ii.  23®.^;  iii.  22“.  jassim,  ii.  28'; 

iii.  10®.  je,  i.  19*’. ',  20®;  ii.  5“; 

iii.  17%  24*;  iv.  21*.%  22“.%  jehi. 


[156 

iii.  22%  janam,  i.  33';  iii.  11*;  iv. 
9'’.*.  jesuiii,  ii  5'. 

xP9-to  restrain,  regulate,  jantia,  iv. 
17*. 

^ <0  restrain,  bind,  gather,  sam- 
jamanti,  L 27'. 

xnto  go,  happen,  be  possible,  jasi,  ii 
8%  ja:i,  i 21%  30'’.  <»;  iv.  20%  ja- 
mo,  i 22%  janti,  iv.  9%  jantl, 
ii.  31% 

+ life  to  believe,  trust,  pattiami,  ii.  6*. 
nst  to  be  proper,  fit.  jujjadi,  i 34®*. 

+ feio  appoint,  use.  niunjialni,  i 
20*%  niunjiasi,  i 20*®.  piuttao, 

iv.  9®. 

+ n <0  represent  on  the  stage,  ad,  per- 
form; to  use,  employ,  paunjadha, 
i 10*.  paunja:ium,  i 11%  paun- 
jiadi,  i 20’®. 


TW  ['V] force,  speed,  ii.  31',  39*. 

[°w]  a gem,  jewel,  i.  14*;  ii.  18*. 
Tsrfiir  ii-  11% 

the  lover  of  the 
night,  the  moon,  which  is  also 
called  raja,  i.  5*. 

[fe]  the  sun,  i 25'’;  iv.  2%  3% 

TT  [“fe]  sexual  pleasure;  the  wife  of 
Cupid,  i 2%  15'’;  ii.  2"*;  iv.  O'. 

[tfe']  Cupid,  iii.  19% 

[^r?]  violent,  wild,  iv.  15*. 

[‘«n]  guarding,  iv.  9®.  *ghara 
[”grha]  a prison,  iii.  34®;  iv.  19”. 
•bhavana  [-na]  the  same,  iv.  9*. 
tgfo  guard,  watch,  rakkhijjae,  i. 
32'. 


167] 


arrange^  produce,  ra'ia,  iii.  30*. 
raia,  ii.  20“. 

+ fe  ^0  arrange,  effect,  perform,  make. 
viraanti,  i.  13**;  iv.  17’’.  viraienam, 
ii.  44’’. 

['TziTja  high-way,  main  road,  i. 
202^  32*. 

vsito  be  colored,  pleased.  Cans.,  to 
please,  satisfy,  rajjae,  iiL  33*. 
rajjanti,  iii.  6^  ratta,  ii.  60®. 
ranjedi,  i.  19^ 

rmto  sound,  tinkle,  rananta,  ii.  32*, 
33’’.  rania,  ii.  47*. 

nrei  ts.  a slut,  whore,  widow,  i.  23*;  | 
iiL  8’. 

<.Ti  SBC  t oi* 

[nfirjf/je  night,  iii.  7*;  iv.  S’*. 

[°s]  a gem,  jewel,  i.  20”,  26*-  •;  iv. 
19'^s. 


THts.  sap,  juice,  flavor,  desire,  love, 
sentiment  {in  poetry),  i.  12^  14’’, 
24<>,  29®;  ii.  11“-’,  12*;  iii.  10®,  31’, 
33®;  iv.  6’’. 

Tmwir  an  etixir  of  life,  ii.  8*. 

TT5  + fe  ^0  quit,  leave,  virahido,  iiL  8’. 
["w]  a carriage,  i.  21®,  26’’;  ii.  18’’, 
34*. 

[“Mtet]  impetuosity,  L 16’’;  iL  44’’; 
iii.  2®. 

[°fa]  secret,  mystery,  esoteric  teach- 
ing, ii.  49’’-  *. 

[°^^]  Raghu-family,  i.  6’’. 
i iT%T  [‘■nj  passion ; a mdody,  ii.  2'’.  ra- 
araa  [ragaraja],  the  king  of  me- 
lodies, the  best  musical  mode,  ii.  2®. 
rr%T-  ['5r]  a king,  i.  34";  iv.  18”. 
TraraRT  « royal  family,  court, 

i.  20*®'  *’■  ** 


iduiipqg  [vw’J  name  of  a bard,  i.  16*. 
TanrraTT  the  ocean,  iii.  3’®. 

tfk  [“■%]  sexual  pleasure,  ii.  49*. 
tnfo  rejoice  at,  have  sexual  inter- 
course with,  ramamo,  i.  22’’. 

+ come  to  an  end,  to  cease,  vi- 
ramaii,  iv.  24^ 

nnats.  the  hip  and  the  loins,  L 30^ 
34*;  ii.  23®,  34*;  iv.  7^. 

pleasant,  charming,  i.  14*, 
20^- «,  30’;  iv.  6’. 

wud  ts.  a lovely  young  woman,  ii.  30*. 
TWTiffaT  [°rx]  pleasant,  charming,  iiL  31’. 
xm  [’’Tu]  pleasing,  agreeable,  lovdy,  i. 
23^;  iv.  9*,  16*. 

TO  ts.  a cry,  yeU,  noise,  sound,  ii.  32®, 
33^  34”;  iv.  16*,  16*,  17”. 


name  of  a woman,  iv. 
9”. 

rrar^  king-parrot,  ii.  14*. 

trara^  the  pod  Rdjagekhara, 

i.  6’,  10*,  11*. 

trerts.  lustre;  name  of  a district  in 
\ Bengal,  i.  14*. 

TT^  ts.  name  of  a demon,  ii.  21”. 
foisted  HD.  7.  7.  a row,  line,  series, 
iii.  20*. 

ftrT  ['tR]  empty,  void,  ii.  40*.  -ttana 
['tva],  indigence,  iv.  24”. 

^ [°fk]  style,  diction,  i.  1^. 
the  same,  L 20’. 

Rfe  [“%]  wish,  passion,  liking,  iiL  14*’. 
[°tz]  angry,  i.  36^. 

['3]  the  god  Qiva,  i.  4”. 


Joi  — 


[158 


^ [^]  silver,  i.  4^ 

^ + arf>ito  ascend.  ahirudhae,  ii. 

2921. 

+ 3fiT  to  ascend,  obtain.  Cans.,  to  raise, 
place;  to  plant,  aruliia,  iv.  9^®. 
arudhaiii,  i.  9’’.  arovida,  ii.  422*. 
arovidavva,  ii.  29®. 

+ vto  develop,  rise,  grow,  parudha, 
iii.  92.  parudhe,  iii.  8*. 

[°fVjT]  blood,  iv.  19“. 

Kfets.  growth,  natural  production, 
custom  or  habit  {which,  according 
to  a well-known  saying,  prevails 
even  over  precept),  ii.  27<*. 

[‘Tx] form, figure,  beauty,  i.  292, 

34^^;  ii.  12^  49';  iii.  9*’;  iv.  9®,  14’’, 

20«. 

^ a vocative  particle,  ho,  i.  18®. 

TU  ts.  dust,  i.  29^. 

4.  100.  to  shine,  appear  beauti- 
ful. rehai,  ii.  16*’.  rehae,  ii.  23’’. 

1st  shine,  beauty  {K,  ii.  41'  Qobha),  ii. 
41',  49*;  iv.  20“. 

line,  streak,  ii.  37’’;  iv.  12*, 
[“Jrra?i]  horripilation,  iv.  22‘*. 

dwf^JT  with  the  hair  erect, 

thrilled,  ii.  46'*. 

TtH  [°a]  anger,  wrath,  ii.  47*;  iv.  23*. 

TtFnir-  H.  4.  105.  to  polish,  rosaniam, 
ii.  12’’;  iii.  22*’. 


[•a]  time  in  music,  iv.  12*’,  17*-*’. 
5T3HT  [“fTT]  a creeper,  creeping  plant,  i. 

28^  34*;  ii.  l^  9<*,  11';  iii.  27”. 
5W3I  [ g]  one  hundred  thousand,  iii.  4®. 


[°5a]  aim,  mark,  ii.  41**. 

^to  see,  behold,  lakkhijjae,  i.  16®. 
lakkiiiadi,  iii.  10*. 

5HT  to  adhere,  cling  to,  to  follow,  dapse. 
laggai,  ii.  25”.  lagga,  i.  16',  26*. 
lagga,  i.  22”;  ii.  6*”.  laggam,  ii. 
24*.  laggassa,  i.  20®®.  laggehi, 
i.  16-*. 

ts.  name  of  Ceylon  and  its  capital, 

i.  17“,  20*. 

[»I5r]  youth,  freshness,  ii  24**. 
^to  leap,  jump  over,  lafighaanti, 

ii.  31'. 

[“f^]  mounting,  transgressing, 
ii.  27*. 

[°^]  success,  splendor,  the  god- 
dess oj  fortune,  i.  20®*,  33”,  34*®; 
ii.  22”,  25”,  28<*,  41®,  48”;  iii.  18*, 
22*,  26*;  iv.  19®®. 

the  (moon)  mark,  or  spot 
on  the  moon,  iii.  32”. 
grgattmar  the  spot  on  the 

moon,  which  is  held  to  resemble  a 
deer,  iii.  31”. 

marked,  furnished  with, 

ii.  7”. 

HD.  7.  26.  charming,  iii.  18**. 
[ufe]  a stick,  stem,  stalk;  liana; 
a string  oJ  pearls  adorned  with 
a gem;  anything  thin  or  slender 
(at  the  end  of  compounds  after 
words  meaning  body),  ii.  6”®,  10*, 
24<*,  41“;  iii.  2*,  5”,  18”;  iv.  19®*. 
soft,  smooth,  fine,  charming, 

iii.  28”;  iv.  8*.  lanhaa,  the  same, 
ii.  24®. 


5T5T  [’fTT]a  creeper,  creeping  plant,  i. 
16^  34'>». 

+ MT  io  speak.  Slaviadi,  i.  4”. 
■\-liZto  speak,  say.  ullavidarh,  iv. 
18”. 

to  take,  get,  obtain.  Cans.,  to  cause 
to  take,  to  give,  lahai,  iv. 
lahadi,  i,  20^- lalianti,  iii.  IS'*, 
laha,  i.  20^*.  lahasu,  iv.  19\  la- 
hadu,  iii.  20*®.  lahejja,  iii.  SS**. 
lahanti,  ii.  31^  labbhai,  iv.  23'*. 
laddha,  i.  20**.  laddha,  iv.  23*’. 
laddharii,  ii.  1*=;  iv.  22*=.  lambbio, 

ii.  44<=.  lambbido,  iii.  20*®.  1am- 
bliia,  ii.  13®. 

FWT  to  touch,  anoi)d.  samalambha- 
nio,  ii.  11*. 

Hra  to  hang  down,  lambijjanta,  iii.  27*’. 
+ resort  to,  partake  in,  ava- 
lambedi,  i.  20®. 

+ «T  to  support,  alambia,  i.  26**. 
ts.  hanging  down,  i.  20*®. 

[’CTrl]  a woman  with  large, 
pendxdous  breasts,  i.  20^ 

?nwts.  attaimnent,  obtaining,  ii.  28*=; 

iii.  15*’. 

?rato  appear,  come  to  light,  lasia, 
ii.  49*’. 

4-feto  shine,  become  xnanifest.  vila- 
sai,  i.  36'*;  ii.  48**. 

5T?  [°^]  quickly,  easily,  iii.  11^;  iv.  19®®. 
5TT  H.  4.  238.  to  put  on.  lenti,  i.  IS*". 
5rrar  [’•m] parched  or  Jried  grain,  iv. 
21*. 

[°2:^]  name  of  a country,  part 
of  Gujarat,  iv.  18*®>®®. 


[’tni]  beauty,  loveliness,  i.  32®; 
ii.  3®;  iii.  1'=,  19®,  20*®. 

5Tm  [■’w]  dancing,  dance,  iv.  10®. 

5Tr^  I'^v]  gaining,  obtaining,  i.  12®. 
f^to  xvrite,  engrave,  pamt.  lihal, 
ii.  40*’.  lihijjai,  i.  27®.  libido, 
ii.  8®. 

-hfeto  engrave,  paint,  vililiiurii,  i. 
30-*. 

to  embrace.  alingasu,  i. 

34®®. 

to  lick,  grind,  rub.  lidha,  i.  16®. 
-ffeto  lick,  to  delight  in.  vilihantu, 
i.  1'*. 

ts.  play,  sport,  beauty,  ease,  grace, 
i.  34®8,  36®;  ii.  30'*,  37®;  iii.  3®;  iv. 
4*’,  7®,  n*’.  lilaghara  [’’gt'ha],  a 
pleasure-house,  iii.  27^.  lilavana 
[°na],  a pleasure-garden,  iv.  2®. 
lilojjana  [»dyana],  the  same,  iii. 
22®. 

sport,  ii.  34®. 

g[Tl3to  rob,  plunder,  luntijjanti,  iii. 

20®.  luntia,  iii.  ll**. 
grr  + fk  to  tear  off.  vilutta,  ii.  24®. 

7.  28.  a creeping  plant, 
liana,  i.  32®. 

^ [°^]  a letter,  writing,  ii.  6**>  ®®. 

a line,  streak,  the  moon’s 
crescent,  ii.  20®,  41*’,  43®;  iv.  9®. 
['or]  the  world,  mankind,  men,  ii. 
50®;  iii.  9**;  iv.  18^ 

[°gvf]  an  eye,  i.  26®,  35^;  ii.  3®, 
50®;  iii.  8*,  16®,  19®,  21^. 

H.  4.  146.  to  sleep;  to  roll  on  the 
ground,  lottai,  iL  4^ 


— 


[160 


^^^roUing  on  the  ground,  raccha- 
lottani,  street -walker,  strumpet, 

i.  2028. 

ts.  shaking,  quivering,  i.  36®. 

#g  ts.  copper,  i.  20®. 


gsee  ssr. 

"aar  [^3]/oo^,  iii.  3®. 
aaro  [°TOi]/em.  •‘msi, jriend,  companion, 

ii.  13» 

aww  ['^]  voice,  speech,  words,  i.  19®> 

202®,  216;  4220^ 


to  be  in  the  Vata-tree  during  the 
Vatasdvitrivrata,  an  observance 
among  women  on  the  day  of  the 
full  moon  oj  Jydistha,  iv.  9^®. 

HD.  7.  29.  growth,  iv.  3*. 
[“ysr]  growth,  increase,  ii.  29^®. 

[srunratj/ew.  “via,  congratulating, 
i.  161. 

srfeiT-  [^fe]  H.  2.  154  growth,  length, 
i.  34®. 

gw  [“g]  a forest,  i.  17’’,  IS^®;  iL  50®. 

gw  [°w]  color,  beauty,  i.  14®;  ii.  7^ 


gww  [“gsrj/ace,  ii.  ll**,  18^  29®!,  42®; 
iiL  32“ ; iv.  O’*. 

garor  [“ireaj/m.  '‘ssi, friend,  companion, 
i.  201^  25®;  ii.  6®.  « ll^,  29*>  i®, 
4311,  471 ; iii.  21-2,  3S  8®,  12®,  20”; 

iv.  2®,  5^  18®S  20®2,  21®. 

^ [°^]fa,mily,  flute,  i.  4^,  18®. 
g^sTwr  [°mtgw]  bamboo-manna,  Ta- 
basheer  {whose  lustre  is  similar 
to  that  of  the  opal),  iii.  4®. 
gg  to  speak,  call,  vuccami,  i.  34i®. 
ge®  [^]  a tree,  ii.  44®. 
g^-  [°^]  the  breast,  bosom,  iii.  19”. 
g^  [“fgrja  girl,  young  woman,  iv. 

2919,  32,  44 

^c^smname  of  a town,  the  capital  of 
Kuntala,  according  to  the  com- 
mentaries, Vidarbhd,  i.  25®. 
graftTHl  the  Vdidarbhl  style  in  poetry, 
i.  1®. 

ggg  to  deceive,  dupe,  vancio,  ii.  8®. 
gvdwi  [°^]fraud,  iii.  34^. 
gi  [°z]the  fig-tree,  iv.  18®“-®®. 

[“dtjifggl]  the  divinity  fancied 


41®. 

gww  description,  praise,  ii  1®; 

iii.  30®. 

gfew  [“ftSwr]  a color,  paint,  i.  4®. 
ggr  [ginf]  tidings,  news,  iv.  9®. 
g?g  [°^  an  object,  iii.  31’. 
gg  Caus.,  to  cause  to  sound,  to  play. 
vaia,  iv.  16®. 

gg?  [“fft]  tile  suffix  vatl,  iv.  9®®. 

to  salute,  pay  hotmge  to,  to  wor- 
ship. vandidum,  i.  36*.  vandla- 
di,  i.  20®®. 

cHJrg  [w5wg]  H.  1.  242.  Cupid,  ii.  3^ 
18”,  39”;  iii.  11®.  Cp.  irorg. 
gtts.  best,  excellent;  a boon,  favor; 
a bridegroom,  i.  1”,  12”;  ii.  17®; 

iv.  19®. 

gftg  [“is]  best,  most  excellent,  preemi- 
nent, ii.  11*1;  iii.  2®. 
gfbwa  cloth,  garment,  ii.  36®;  iii.  3®, 

221;  7b 

gftg  [gu]  rain;  a year,  i.  20“;  iv.  24”. 
gfwrvT  [g5“]  a eunuch,  iii.  34®. 
gfrfg-  [°f5g]  raining,  iii.  3“. 


— fa 


161] 

aiff-  to  describe,  praise,  va^l;lemi,  ii. 
32*.  vannaa,  i.  van^iasi, 

i.  20'“.  vannido,  i.  8'>  vannida, 

ii.  24*;  iiL  26'. 

u^to  turn  round,  surround;  appear. 
valanta,  iii.  27^.  valia,  L 30“ ; ii. 
24“ ; iii.  2'. 

anar  [“a]  a bracelet;  a circle,  L 25*'; 
ii  9^  16“,  32';  iii.  13“,  18“,  27“, 
32";  iv.  7'. 

a?i?aT  ['fiicT]  surrounded,  encircled; 
bowed,  curved,  L 33*';  iii.  19";  iv. 
20«'. 

crati?  [°»^]  the  sloping  roof,  i.  36“. 

351?  a fold  of  skin  on  the  belly,  iL 
1". 

a55ns  [°w]  dear,  beloved;  lover,  husband, 
I 18“,  19",  34«;  ii.  6**,  29*'. 
a55(iTTaT  [°mT5T]  name  of  a king,  i. 
34«. 

a55»?  ts.  a creeping,  winding  plant,  ii. 
35". 

35C  to  dwell  vasai,  iv.  20®. 

+f^io  dwell,  stay.  ^iivasa;i,  ii.  49". 

+ <0  put  on,  wear;  to  attire. 

niattha,  ii.  14“.  nivasiani,  L 26'. 
a^r  [°5i]  ir\fluence;  used  in  the  instru- 
mental case  with  the  sense,  on 
account  of,  i.  31“,  36';  ii.  31';  iv. 
18“-". 

35RTts.  the  spring,  L 12®,  13*',  18'^; 
ii.  1®. 

[“5Tt]  name  of  a woman,  iv.  9®. 
amjTTts.  1.  the  earth,  i.  16®.  2.  name 
of  the  wife  of  the  Yidiisaka,  i. 
20®^ 


awifT  [°vn]  the  earth,  L 25“. 
a^  to  bear,  carry,  vahanti,  L 19*. 
vahanto,  i.  18*. 

I +ITO3  the  same.  samuwahadi,  L 
^20*'. 

a^  [-’'^]  a wife,  i.  21“;  ii.  2“;  iii.  26“; 
iv.  8<‘. 

arts,  or,  i.  18">'“>'®,  20'“,  30*;  ii.  27“; 

iii.  20'®>'^;  iv.  18®“. 
arfo  blow,  vaanti,  L 17^. 

+ fro  Caus.,  to  blow  out.  niwavido, 

iii.  22'. 

arsT  [°a]  wind,  i.  15^. 
araroi  sounding,  playing,  iv.  18“. 
ann?  ts.  speech,  voice,  i.  1",  20*. 
ara  [•’h]  unnd,  i.  32*. 
aw  ts.  left,  i.  20'®,  28'. 
awnr  [°!t]  a dwarf,  pigmy,  iii.  34®. 
aR3T  [®gi]  a vessel,  cup,  iv.  10",  13“. 
arft  ts.  water,  iv.  6",  8'. 
aroir  ts.  conning  of  water,  iv. 
13". 

arwfts.  spirituous  liquor,  iii.  14“ ; 

iv.  6". 

°aw?  [m-]  edge,  L 15“. 
aw  + aft<o  make  fragrant,  pariva- 
sia,  iv.  6'. 

jawts.  dwelling,  abode,  ii.  3";  iii 
22'. 

aw  [air-]  the  poet  Yydsa,  i.  1“. 
awrts.  the  day,  i 35“ ; ii.  2'*;  iv. 
9<*. 

arfi-  “him,  bearing,  carry- 

ing, iv.  9'“. 

fa,  after  anusvdra  fq,  [arfa]  though, 

also,  cp.  kiih.  vi,  i 4“-  “,  7“,  8% 
11 


fear  — 

13s  18S 

: 24%  25%  27%  28^.  e.  s,  30%  31»-  % 
33%  3413,30,32.34^  361.  ^ 12^  5c^  613. 25^ 
8%  10%  18»>  % 23%  25'‘-  % 283,  291% 
413. 6^  42a,  b,ii,i%  45a^  46%  470^  48*. 
491 ; iii.  !'’•  % 3'=>  4®,  8'’>  9®, 

15%  2Q3,  33%  iv.  1%  6%  9%  16% 

Xgn,  21,  22,  25,  31^  X9®'  ®>  3®.®%  20®.  ®,  22®, 

23%  pi,  i.  1%  41%  10%  13%  16% 
181®,  19®,  201®*  20^  22%  24%  25“*  % 
34%  35i><%  ii.  1%  111.%  27%  28% 
39%  421%  46a  482.  ^ 2%  31%  9®, 
12%  13%  14%  15%  16®.%  32%  iv.  2% 

4c  0c,  12,  14^ 

fear  [^]as,  like,  i.  !<*,  4®.  1®,  18i% 

20d.7,  9,  13,30,  43.  61«* « 11®,  40% 

45%  iii.  2%  8%  10%  19%  20i®;  iv.  2i% 
Cp.  551. 

[“^cfiy]  a kind  of  jasmin,  i. 
19% 

['ggrir]  circumspect, wise,  clever, 

i.  20% 

[°^gun]  name  of  the  queen's 
female  servant,  i.  18®,  19%  20i.% 
3435;  ii.  61.13.11.1%  10%  11%  41% 
42%  43%  503. 

clever,  experienced,  ii. 

2913. 

feam  douht,  hesitation,  suspi- 
cion, iii.  10®. 

gaqnng,  opening,  dis- 
play, machination,  iv.  183% 
feiifHa  see  nH  + f^. 
fearer  see  giR  + fe. 
fesTTT  [°^]  consideration,  ii.  6®. 
evening,  ii.  50% 


[162 

feaftsT  ['Tini]  separation,  absence,  iL 
9®. 

fefw  [°3!w]/orce,  prowess,  valor,  i 
14% 

fdcK{<w  ['’B35JM]  an  interlude  between  the 
acts  of  a drama,  i.  6i>. 

[Marathi  fsi^w]  to  scatter, 

ii.  35% 

[°?]  various,  iii.  27*’;  iv.  11%  20®. 
“ttana  [“tva]  variety,  strikingness, 

iii.  311.  [-oXa]  iJiq  same,  i 20% 
iii  4®. 

[°g-]  to  make  pale,  outshine. 
vicchaanto,  ii.  30®. 
ftreiar  [°3]  interruption,  ii.  39®. 

H.  4.  46.  to  cause  to  quiver. 
viccholanto,  ii.  30% 

[°'5r]  victorious,  iv.  4% 

to  act  as  lightning. 
vijjullehaidam,  ii.  403. 
fg^rfk-  H.  4.  422.  fern.  ®lini,  polluting, 
i 18% 

fdt^w  ts.  deception,  fraud,  ii.  28®. 
fgawTui  disguise,  imitation,  mock- 
ery, iii.  12®,  33% 

fgig  [°3n]  a branch,  bush,  thicket,  L 
lO**;  ii.  432.1% 

[°^]  name  of  a mountain  or 
country  from  which  the  Vaidurya 
jewel  is  brought,  i.  34i®. 
fmnfesee  iirg  + fg. 
ferm  [“stt]  without,  i.  I81®,  203®. 
fgtrrre  [°5mi]  destruction,  iv.  24% 
fd<a5fd  see  in  + fe. 

[qftrgnT]  a commentator,  ii. 
32% 


163] 

ea;<e«sion,  mimite  details, 

i.  34“;  ii.  32«;  iv.  3“,  18*. 

[“Jrflrfr]  large,  wide,  ii.  23**. 

+ tell,  announce,  nivedemi, 

ii.  10";  iv.  18‘.  nivedehi,  i.  34*. 
nivedaissadi,  ii.  29*.  nivediadi, 
ii.  22*.  nivedidaiii,  i.  16*;  iv. 
19”. 

resplendent?  iinMing?  [K, 
ujjvala;  J,  mafijughosa;  R,  vidra- 
na;  TJ,  vistaravat;  in  the  Bdla- 
rdmdyana,  translated  vyatikara,  I 
sadr?a,  and  migra],  ii.  SI'’. 
fdWHm  [feu  ] separation,  iv.  2*’. 
feswu  [°w]  perturbation,  flurry  of 
mind  caused  by  love,  amorous 
play,  L 2®,  16*;  ii.  iii.  12®, 
32®. 

fesiTO^  [“HMHfyi]  name  of  the  queen; 
name  of  a woman,  i.  16*;  iv.  9*, 
19« 

feemravH  [“nwari'j/em.  °val,  whirling 
round,  swinging,  i.  21*’. 

name  of  a woman, 

iv.  9*. 

fewTUi  [°=r]a  car,  vehicle,  i.  34*';  ii. 
31*’;  iv.  19”. 

ferann,  [-^J  arrangement,  dres- 
sing, embellishment,  i.  20*;  ii. 
28®. 

fen  ts.  separation,  i.  35';  ii.  42®. 
ferfe-  [°fe^]/e>w.  »hini,  separated  from 
the  lover  or  mistress,  i.  20'; 
ii.  2'. 

fdHiH  ts.  coquetry,  grace,  beauty,  ii. 
40®;  iii.  31®. 


— fe§H 

fdr^ifmnl  a coquettish  woman,  a 
woman,  iv.  14®. 
fe<n  see  5ru  + fe. 

ferafucT  oinUmnt , unguent,  cos- 
metic, i.  30*. 

fetTTaruT  [°^]  an  eye,  iii.  22'. 
fdrjfe  ts.  rolling,  unsteady,  ii.  32'. 

' feailar  [^Tx^]  inverted,  ii.  16**. 
feants.  marriage,  iv.  18“>*^  19*^>*®>*^ 
20®,  21». 

fe7T  + 37^to  enter,  anuppavittko,  iv. 
18*. 

+ 3Ufo  sit  down,  uvavisa,  iv.  lO'’*®®. 
uvavisadu,  i.  24^*;  ii.  29*®.  uvavi- 
sia,  i.  34*;  ii  4P. 

+ feto  enter,  fix.  Caus.,  to  fix,  apply, 
place,  arrange,  nivittka,  i.  2^; 

iii.  12®.  nivittka,  iii.  2<*.  nive- 

saanti,  ii.  36*’.  nivesaanti,  i.  27®. 
nivesia,  ii.  15®.  nivesiam,  ii.  18®. 
nivesidao,  iv.  9*.  ; 

+ u <0  enter.  Cans.,  to  introduce,  pa- 
visamka,  iii.  20®-**.  pavisia,  iii. 
34*.  pavittka,  iii.  2**.  pavittkae, 

iv.  18**.  pavesaa,  i.  21^. 
fe^  [^Tx]  poison,  iii.  20®. 

fe^ar  [°uu]  an  object,  matter;  range, 
reach,  i.  24®;  ii.  8<*. 

fe^r^H.  4.  176.  to  burst  open,  he  ex- 
panded, ii.  4*>. 

fetf^T  [°uvit]  a snake,  iii.  20®. 
fdFrft-  [°fk^]fem.  “ripi,  wandering 
about,  iv.  19®®. 

fe^^  [°^j  correct,  accurate,  iv.  12®. 
fefe?  [°^u]  difference,  mode,  variety,  i. 
8®’*’;  iii.  15*’. 


11* 


[164 


[°iotrai]  a mark  on  the  forehead 
with  sandal  etc.,  iii.  32’’. 

[°fvt\ performance,  manner,  con- 
duct, rule,  fate,  destiny,  ii.  28^; 

iii.  14^  iv.  l\  3^ 

[°^|w]  ornament,  decoration,  ii. 
25^ 

f 

[°5R3i]  produced  hy  fanning, 

iv.  8<’. 

cfhtto  fan.  vijaissam,  iii.  22^. 
ts.  a late,  i.  4®. 

grTnT  [^tTRT]  neivs,  tidings,  ii.  11^. 
a+1^  Caus.,  to  ward  off.  nivaria,  ii 
29J. 

^to  he,  abide,  stay.  vatta;i,  ii.  4P, 
20’’;  iii.  29’’.  vattadi,  i.  34®^;  ii. 
41®,  50’;  iii.  22®;  iv.  19®“.  vattanti, 
i.  12®,  13“;  ii.  S'®;  iii.  27'’. 

Ca  is.,  to  stir,  churn,  ava^tia, 
i.  16^ 

+^Caus.,  to  rub,  clean,  anoint. 
uvvattiam,  ii.  12®. 

■\-Vito  go  forward,  proceed;  to  arise, 
be  produced;  to  begin;  to  be  oc- 
cupied ivith.  paattai,  ii.  4P.  pa- 
attaii,  i.  l^  pavattadu,  iii.  20®. 
paatto,  i.  36'’.  paatta,  iv.  16’’. 
paiitto,  i.  4®,  6®;  iii.  3’®.  paiitta, 
i.  4’®,  16®. 

+ ^Hto  become,  arrive.  Caus.,  to  anoint. 
samvutto,  ii.  50®.  saiiivutta,  iii. 
22’.  saiiivattianaih,  ii.  46®. 

^to  increase.  Caus.,  to  augment;  to 
congratulate,  vaddhanti,  iii.  11'’. 
vaddhia,  iii.  10'’.  vaddhaviasi, 
i.  12®.  vaddhavida,  i.  16®. 


^ to  rain,  varisidum,  iii.  3’®. 

[‘’ef]  the  Veda,  i.  24’’. 

Sarfew  a jeweller,  iii.  4®. 

SsnuT  [°-?!?{\\ feeling , pain,  iii.  4®;  iv. 
19®5. 

3551  [Ssr]  a physician,  iv.  7'’,  18®®. 
gTidts.  a braid  of  hair,  i.  13’’;  ii.  H 
39”. 

3^  ts.  a flute,  iv.  6®,  18*. 
ifka’iT  [^3>t]  an  altar,  raised  seat,  ii. 
29’®. 

35Ffe*T  [3|3]H.  2.  133.  the  Vdidurya 
jewel,  cat's  eye,  i.  34’®. 
i^TT  ts.  time,  opportunity,  ii.  6’®,  41®. 
Sts  to  surround,  enclose,  embrace,  ve- 
dhium,  i.  30”. 

3B  [°'ai]  dress,  apparel,  iii.  18®;  iv.  T**, 
18®'”. 

^see  r3Ti. 

pierce.  Caus.,  to  cut,  peif  orate, 
bore,  vindlianti,  i.  32'’.  viddlia- 
vida,  iii.  4®. 

53,  3 [^]  like,  as.  wa,  i.  18^,  29'’, 
35'’;  ii.  33”,  34”,  36”,  39®,  46'’,  48”; 

iii.  2®-”,  20®,  25®.  va,  i.  4'’,  16'’; 
ii.  35”,  37”,  38”,  40”;  iii.  20®,  28”; 

iv.  9”,  17”.  Cp.  fesi. 


?l|i  to  fancy,  sanke,  iv.  22*’. 

7TR  + fir  Caws.,  to  hear,  listen  to.  ni- 
samaa,  ii.  29'’. 

Caus.,  to  teach,  instruct,  sikklia- 
vlasi,  ii.  27’. 

^ Caus.,  to  wither,  emaciate,  sosa- 
nijjo,  iv.  2®.  sosapijja,  iv.  2’. 


165] 


— 


^to  hear,  suija,  ii.  27^.  suijasu,  i. 
B'*.  su^adu,  ii.  9';  iv.  9^  souria, 
i.  35'=.  suniadi,  i.  4^“,  21®;  ii.  lO'*. 
suwantaiii,  ii.  27'*.  sudaiii,  ii 

24* ; iii. 

TCTraio  praise,  salahanijjo,  iv.  3*. 

to  he  loosened,  relaxed,  usa- 
santam,  ii.  24'*. 

4-fe^o  tmst,  confide,  rely,  visasladi, 
iv.  20*. 


F [^ci]  one's  own,  iv.  19®^. 

H3T  [wh]  a hundred,  iii.  27<=.  Cp. 

F3T  [^3^]  self,  ii.  47*. 

[<-3d*d]  self-made,  i.  19®. 

[^133]  o led,  couch,  iii.  27<=. 

all,  entire,  i.  34®;  ii.  5s 
28s  47';  iv.  20»,  24®. 
wf^rgTinaT  [°'viRck]  arrangement  of  inci- 
dents, i.  34®®. 

[fi52!rT]  the  Sanskrit  langtiage,  i.  7». 
the  same,  i.  6®. 

[Tii^]  sugar,  ii.  26<*. 

[wT%3]aw  eye-witness,  i.  18*®; 
iii.  24*’. 

H’it  [^3n]  heaven,  i.  4®. 

[^“]  hesitation,  scruple,  fear,  iii. 
34*. 

[‘H]  a rendezvous,  ii.  41®,  50®. 

^ ts.  touch,  contact,  ii.  28"=. 

STTW  ts.  meeting,  union,  intercourse,  iii. 
6^  34®;  iv.  3*,  9*. 

[°f^]  Jem.  '’gini,  touching, 
meeting,  attached  to,  iu  20*;  iii. 
24\ 


♦imgl  [“fe^rr]  HD.  8.  7.  a couple,  union, 
contact,  1.  3**. 

[“3]  ivith  sandal,  rubbed  with 
sandal,  iv.  6*=. 

^rea  ['raj^^'we,  real;  adv.  indeed,  for- 
sooth, i.  20*;  ii.  6*;  iii.  B*,  12*, 
20*'®*;  iv.  20®.  Compar.,  sacca- 
dara,  ii.  6®. 

[53“]  at  one’s  own  will,  iv.  2®. 
^ra5its.  ready,  prepared,  ii.  28*,  29*®; 
iv.  20**. 

[°st]  a good  person,  iii.  20*S 
^^-to  be  prepared,  made  ready. 
sajjianti,  i.  4®.  sajjijjanta,  iiL 
27<=. 

^Trg  [HTvn]  to  be  accomplished,  attain- 
able, possible,  i.  25“*. 

#33T  [“3]  heaping  up,  collection,  ii.  1®; 
iv.  9^. 

ts.  going,  motion,  iii.  23*. 

'rini,  moving,  wand- 
ering, iv.  19®*. 

55ilfa-  [°f^]/em.  °vinl,  bringing  to 
life,  resuscitating,  ii.  3*=;  iv. 
23^ 

[°3tiT3iT]  bringing  to- 

gether, i.  34®®. 

[°>m]  evening,  i.  34**,  36*;  ii.  41®, 
50*;  iv.  4*. 

[°3i]  a kind  of  drama,  i.  4*®,  6*, 
12*>. 

^ [^]  hemp,  i.  20*®. 

nfafgg  near,  ii.  41®-  ®,  50*. 

^^  + vto  be  pleased,  propitious,  pa- 
slaii,  iii  21'’. 

^ [^irTja  hundred,  i 20®*-**.  Cp. 


^ a word,  sound,  speech,  noise, 

i.  8%  20^  36<=;  iii.  Sl^;  iv.  91 
^aifcj-  'vini,  burning,  af- 

flicted, iv.  9'=. 

Hffrftr-  [°fo5T]/em.  °sini,  pleasing,  com- 
forting, ii.  29®. 

union,  friendship,  peace,  ii. 

gl4,  15,  IG 

^[TI5^  ts.  with  the  Fahcania  mode, 
iv.  6®. 

wxt  [°5]  a snake,  iv.  18^^ 

^ ts.  same,  equal,  like,  even,  plain; 
adv.,  together,  with,  L 19% 

24^;  ii.  10®;  iii.  O'*,  8®;  iv.  6% 
12^ 

^ar  [°u]time,  i.  20^®,  SB**;  ii.  6®%  50% 
iii.  31%  19=;  iv.  4%  7%  18% 
infill  ts.  adorned  with  jewels,  iii. 
18“. 

HiTHsee  amr  + HJT. 

['Tfflfw]  a setting  on  a par 
with,  equality,  L 20®®. 

^rmam  [°7m]  meeting,  arrival,  iii.  8®. 
^TTTTTmts.  beginning,  i.  14®. 

abundance,  ii.  44®. 
appropriate,  iv.  19*®. 
[°q]  collection,  multitude,  i.  28®. 

[°3]  the  ocean,  iL  29*®,  43®;  iii. 
4®. 

[°ST^]  sea-shore,  iii.  3**. 
GwtrftR®  [Hwp']  with  peacocks’  tail- 
Jeathers,  iv.  14**. 

HTT?  noiv,  i.  35% 

mixed  with,  having  con- 
tact with,  i.  17%  20®. 

503  [oTHfiti]  now,  i.  19®,  34%  iii.  26®. 


[166 

[“^]  a cavity,  fold,  ii.  6®®>  ®*>  ®%  7®. 
[°Y^]fuU,  iii.  25% 
ts.  birth,  origination,  iv.  22% 
#wtar  ['n]  copulation,  i.  20®;  ii.  28®. 
[^m]facing,  opposite,  ii.  36% 

[°^h]  a,  lake,  pond,  iii.  29% 

^ [51%  an  arrow,  ii.  3%  45*’;  iii.  11®; 
iv.  4“*,  20% 

Hvar  [mcf]  the  autumn,  iii.  3**,  28% 
jsrut  [51%  refuge,  ii.  10% 

BTJH^ts.  a path,  line,  row,  swarm, 

ii.  6% 

^R^rts.  straight,  honest,  ii.  23%  30% 
“ttana  [°tva],  sincerity,  iii.  10% 
[°5=ifff]  the  goddess  of  poetry, 
i.  1% 

the  same,  i.  34®*;  ii.  10®>% 
gctiM  [°aTOTl]  impetuously,  ii.  50% 
nftsiT  [°'fcr]  a river,  ii.  27%  35% 

[^3^]  equal,  like,  i.  19®,  29% 
afa  [°35i]  the  same,  i.  35“ ; ii.  10%  11% 
38“ ; iii.  14'*. 

[51%  body,  iv.  19®®,  21®. 

[5r6fbi]/em.  'rini,  embodied,  iv. 
19®% 

^rararr  [5jmt*t]  a pin , stick  used  as  a 
brush  or  pencil,  i.  20%  34*®. 
^fi^5rts.  water,  i.  17%  20*®;  iii.  20®, 
22*;  iv.  13% 

[°uaf]  worship,  attendance,  i. 
34®% 

^rariT  [^%  an  ear,  i.  29®;  ii.  8®,  18“; 

iii.  2**,  19“ ; iv.  6% 

^cR  [51^%  a mountaineer,  savage,  iv. 
19®% 

?T5ci  [h^]  every,  each,  all,  i.  7*,  14®, 


167] 


— ftrarar 


18';  ii.  6«>s,  24^,  27',  28';  iii.  8<; 
iv.  2'°,  18’-®S  23<i. 

[TTacFnj  all-scratching,  i.  e.  very 
galling  or  exciting,  i.  18^. 

TTsgw  [?i^]  the  very  essence,  i.  28\ 
the  moon,  iv.  23'’. 
the  same,  iii.  30,  31®. 
nfe-  the  same,  i.  25®;  ii.  10', 

20^,  21^  32'*;  iv.  3*’. 
the  same,  iii.  33'’. 

nfaujT.1  [Tjftnwr]  name  of  a queen,  the 
mother  of  Karpuramahjari,  i. 

3411.  n 

Fftrgns  [:rfw°]a  digit  of  the  moon, 

i.  3®. 

a Jather-in-laiv,  i.  18®. 

51;  to  endure,  socihavvo,  iv.  1®. 
fTg  ts.  together  with;  at  the  same 
time,  ii.  6«- 9®-*’-‘>,  422',  50®-'’; 
iii.  34®;  iv.  2^ 

[°^]a  companion,  friend,  hus- 
band, ii.  41®. 

^rgfoi  with  joy,  ii.  34^ 

ts.  Jorcibly,  suddenly,  L 18*',  29®; 

ii.  45'’;  iii.  3^  20'®. 

[°wt]  an  assembly,  i.  19’. 

[wH  rc(]  innate  disposition,  nature, 

iii.  11®. 

a fonale  friend,  iv. 
13'’. 

^rf^Tmr  [°^t^yriendship,  ii.  28®. 

[°h]  accompanied  by,  together  with, 

i.  28®;  ii.  42®. 

a female  friend,  i.  19®;  ii.  7®, 
29^  41®,  43'®,  50®.®;  iii.  19®,  20®®; 

iv.  9",  19®®.  ®’. 


mar  ["Wi]  in  the  evening,  iv.  4'’,  8'’, 
18’. 

[^TTn®]  name  of  a merchant, 

iii.  5®. 

wyt  + uto  adorn,  decorate,  pasahia, 

ii.  22®. 

Firm?  completeness  of  outfit,  out- 

fit, the  requisites,  ii.  41®,  42®>  ®,  ®'; 

iv.  9'®,  19'’. 

Hiwh  blacldsh,  i.  16'. 

hrh  [^°]  night,  iv.  8'. 
mr  ts.  essence,  vigor,  iii.  10^. 

ts.  an  antelope,  ii.  20'’;  iv.  1\ 
[‘5ft]  name  <f  a female  ser- 
vant of  the  queen,  iv.  9",  18®, 
20®. 

[°gn]a  kind  of  bird,  Maina, 
Acridotheres  tristis,  i.  18'®. 
yiffsKd  H.  1.  44.  like,  similar, 
iv.  19®®.  ®da  [sadrksata]  likeness, 
resemblance,  iv.  19®®>  ®®. 

[Tirfe^rr]  an  apartment,  room, 
i.  14'. 

[“tjrJaj  the  position  of  a rival 
wife,  iv.  23®. 

[vgr°]  a sigh,  ii.  9®. 

direction,  order,  iii.  9®. 
itrgTT  [?TiTi*R]  produced  from  the  mango, 
iv.  5'’. 

Hrf%-  [^iRcm]  a tree,  ii.  46'. 

[°fw^]/em.  'Ill,  facing  one 
another,  iv.  12'’. 

8.  52.  a qarment,  cloth, 

i.  20®®. 

ftrarar  [°^]  a cloth,  garment,  i.  4®,  26'; 

iii.  22®. 


[168 


[ftjgimu]  teaching,  ii.  8®. 
ftrg  [■arhni]  quickly,  i.  4^. 
f8<Wr<ut  speed,  i.  IS^^. 

[^”]  love,  passion,  ii.  3®;  iii.  10*^; 
iv.  19«S  23\ 

to  sprinkle.  sincanti,  iv.  10'>. 
sincijjanti,  iii.  20®.  sitta,  iii.  22®. 
sitto,  i.  20*®. 

fieR5iT  [fti’]  tinkle,  jingle,  ii.  32®. 

[ftif^irr]  tinkling,  singing,  i. 

18®. 

[fafqgra-]  to  relax,  loosen,  si- 
dhilaami,  ii.  1®. 

ftrfiuiA  affectionate,  i.  16®. 

fe^ts.  a kind  of  supernatural  being, 
i.  25®. 

f^fets.  witchcraft,  magic  power,  i.  21®. 
name  of  a tree  ( Vitex  ne- 
gundo)  and  its  flower,  i.  19*’;  iv.  7®. 
ftfoiH.  2.  138.  a conch-shell,  i.  4**. 
fisT-  [ftiw]  head,  top,  summit,  ii.  46*^; 
iii.  3®;  iv.  19®®. 

[^°]  sandal-wood,  iv.  4®. 
feftrTT^  [■‘sff’’]  a,  kind  oj  toddy-palm, 
iL  1^. 

ftrftTTsrem  [qhi5iWT]  the  renowned 
Bdjagekhara,  i.  10®. 

[qld«<iy>i]  name  of  a king, 

iii.  5^. 

ftnc?  [qT]  wealth,  dignity,  beauty,  i. 
33’’;  ii.  48®;  iii.  15®. 

[ftrcla]  the  flower  of  Acacia  si- 
rissa,  iv.  7®. 

ftrerr  [fti°]  a stone,  rock,  ii.  15’’;  iv.  O'®. 

an  arrow,  ii.  lO**, 
38^  46”;  iv.  4^  9®. 


fertar  [vsftgj]  a verse,  ii.  7’’,  8®,  9®. 
ftjfainaT  a dream,  iii.  2®,  3®'*-®-^, 
4®,  8®,  20®. 

ryftjK  cold;  the  cold  season,  i. 

13<i;  iv.  6”. 

artificial  refri- 
geration, means  for  cooling,  iL 
41®,  42®- 8- 2®;  iii.  19®. 

[ftjqra]  childhood,  infancy,  i. 
20'*. 

[fw°]  a lock  of  hair  left  on 
the  crown  oj  the  head  (used  as 
synonymous  with  Qekhara),  i.  5®. 
ftlrfr-  [fwirst]  a mountain,  i.  15*’. 
[ftnsji]  top,  tip;  edge,  iL  47®;  iii. 
25®;  iv.  3"*. 

ftrfwHD.  8.  31.  the  female  breasts, 
i.  34’’;  iii.  16®;  iv.  7®. 

[3i?fT?7]  cool,  cold,  L 15^;  iv.  4\ 

ga,  b,  c,  d 

«l«r5rT<ul  [°^]  a woman,  L 15’’;  ii.  28’’. 
^ [31^°]  nature,  disposition,  ii.  6®. 

^ [^jH]  head,  i.  20®^;  iv.  2*,  12®, 
18®L 

[qq;]  a parrot,  iv.  2®. 

W31T  [°rTT]  a daughter,  i.  3’’,  12’’. 
frawTT  very  delicate  or  soft,  i. 

7®,  20®. 

WcF?  [“fe]  an  excellent  poet,  i.  20®®. 
[HtScTTH]  excellently , exceedingly, 

i.  20"®;  iv.  20®®. 

wiraTiii  having  beautiful  eyes,  ii. 

IK 

a thread,  fibre,  ii.  60®. 

^ Cv  ■' 

[H-HihK]  an  author  of  Sutras, 

ii.  32®. 


169] 


a pearl-oyster,  iii.  3’®,  4®*  ®. 
[h^]  well-conditioned,  ii.  1*. 
ts.  Jem.  Ti,  beautif  ul,  lovely,  i. 
20®;  iL  44';  iiL  28®,  34“ ; iv. 
21<». 

ts.  name  of  a woman,  iv. 
9”. 

H»rUWtii  [°fa]  beauty,  loveliness,  L 14®. 
[^envOTj  the  same,  L 28'*,  33';  ii. 
48“. 

?TTxi55ra  very  straight,  honest, 

sincere,  iL  2V. 
saints,  very  great,  iii.  12*^. 

HJTCiij  [w”]  remembering,  recollection, 
ii  10>>. 

srrts.  a god,  i.  25'.  sura-aiia  [-jana], 
the  gods,  i.  3®. 

RT3T  [°h]  copulation,  sexual  intercourse,  i 
I 24*1. 

«^ts.  a subterranean  passage,  iiL 
22®,  34®;  iv.  9®-  ^ 18®®,  19®- 
rngfidi  [°fcr]  the  Ganges,  iii.  3^. 
mfi  [oftr]  the  spring,  i.  14®;  ii.  22‘>. 
?mts.  spirituous  liquor,  L 24<*;  iv. 
19®. 

n^cKj4iili  [°girrT]  name  of  a wcnnan,  L 
34®®;  ii.  9®. 

ts.  very  waving,  unsteady,  iii. 
11“. 

a golden  coin,  L 14®, 
18®®,  19s  20®*;  iL  41“;  iiL  4®, 
5®>.  ®,  22=. 

very  round,  iiL  4*’. 

[’ratigj]  attentive,  obedient,  i. 
20®*. 

[°^]happy,  agreeable;  happiness. 


ease,  joy,  i.  3S  14®,  34*®,  36**;  iL 
28*®;  iii.  24®;  iv.  21®. 

[“Mn]  blessed,  beloved,  beautiful, 
iL  O',  10*®;  iv.  3®.  -ttana  [-tva], 
beauty,  loveliness,  iiL  13**. 

«WUi  [“larnwr]  a happy  evening,  iL 
49*. 

[°wrftifT]  a witty  saying,  good 
counsel,  iv.  9®-  ®®. 

^ ts.  go,  proceed,  flow,  sarai,  ii.  6'. 
saranta,  ii.  35®. 

+ MTito  go  away,  to  vanish,  osa- 
ranti,  iii.  16**;  iv.  18*». 

+ n<o  flow  forth,  to  grow.  Caus., 
to  extend,  pasaranta,  iii.  lO®,  11®. 
pasarida,  L 16®. 

4-  fffk  Caus.,  to  arrange.  padisSredi, 

I L 4®.  padisSrladi,  L 4®. 

# H.  3.  81.  his,  her,  i.  29®;  ii.  1®,  6', 
13®,  18®,  30*1,  35®,  46®. 

Haroftra  sweat,  perspiration,  iiL 

22®. 

[unn]  a bed,  couch,  i.  23';  ii.  4**; 

iii.  3®,  27**. 

Slj-  a merchant,  iii.  4®. 

tilTT  [“Jr]  the  word  sena,  iv.  9®. 

a fetnale  attendant  in 
the  women’s  apartments,  i.  36'; 

iv.  9®. 

^to  attend  upon,  frequent,  sevai, 

ii.  17*>. 

+ to  practice,  enjoy,  nisevia,  iv.  8*’. 
TO  ['da]  remaining;  rest,  ii.  29®-  *>  ®; 
iv.  4**. 

TOT  [dw]  a crest;  chaplet,  diadem, 

iii.  13®. 


igrfaaff 


[170 


a hind  of  flower 
supposed  to  blossom  by  moon-light, 
iv.  18^8. 

iliiliTTdr  [W?q]  valor,  i 32®.  . ^ 

#353  see 

#i!r  [#"]  red,  i.  26». 

#tT  [#?ra:]  a stream,  L 12*>;  ii.  27*>; 

iii.  3^ 

[#f^]  a learned  Brdhmana, 

iv.  20'’. 

harem-keeper,  iii.  34®. 
['#3°]  emaciating,  name  of  one 
of  the  arrows  of  Cupid,  i.  32*^;  iii. 
26'=. 

#gi7T  [#H[iq]  beauty,  charm,  ii.  3^ 

[#mt55r]  HD.  8.  37.  horse- 
radish, i.  20^'’.  {K,  phalguna- 
masi  tatkandam  khandayanti; 
J,  puspanimittam  gakhanam  tro- 
tanam  ity  arthah.) 

#gT  [qrtwr]  light,  splendor,  i.  28®,  29®, 

3la,  b 3417.  ii,  10^  25“ ; iii. 

25'. 

#%-  [#l#i]  shining,  lovely,  ii.  7*’. 
^fSf^to  tumble,  fall  down,  end.  kha- 
lia,  i.  20“.  khaliam,  i.  32''. 

Caus.,  to  stop,  arrest,  thambhe- 
mi,  i.  25''. 

^+3^0  spread,  to  make  abed,  pat- 
tharijjanti,  i.  36^ 

^-f3^o  increase.  Caus.,  to  spread,  ex- 
tend. vittharanti,  ii.  2\  vittha- 
rida,  iii.  8^ 

OTT  to  stand,  remain,  find  place.  Caus.,  to 
place,  arrange,  citthasi,  i.  18'®; 
iii.  2'.  thai,  i.  34“.  cittbadi,  i. 


21^;  ii.  G'®;  iv.  20®.  cittba,  iL 
42®';  iv.  19®^,  20*.  ciUbadu,  L 
34®®;  ii  41®.  cittbissam,  i.  20®*. 
tbia,  ii.  33“;  iii.  23®.  tbida, 
iv.  18®°.  tbio,  ii.  I**,  46'*;  iii.  4®. 
tbido,  iii.  3'®,  4*.  tbia,  i.  26'. 
tbida,  i.  20®>  tbiam,  ii.  47**. 
tbidam,  i.  20®^.  tbidena,  ii.  29®. 
tbie,  iii.  25®.  tbavia,  ii.  43®.  tba- 
vio,  ii.  17®.  tbavido,  i 4^  tba- 
vidao,  iv.  9'°. 

+ ^ to  stand  up,  rise,  uttbiuna,  iii. 
21®.  uttbia,  ii.  43®. 

Caus.,  to  place,  establish,  pa- 
dittbavida,  iv.  18". 

+W^to  stand,  to  be  settled,  fixed. 
saib tbido,  iii.  3'°.  samtbia,  iii. 
3'’,  b**.  sam tbida,  iv.  19®*. 

FTT  Caus.,  to  wash,  bathe,  nbavio, 
i.  29'. 

to  touch,  puttba,  iv.  22'*. 

Caus.,  to  split,  cleave,  pbadidao, 
iii.  4®. 

4.  177.  to  break,  Jail  asunder. 
pbudanti,  iii.  20®. 

■^ato  open,  become  manifest,  pa- 
buttai,  ii.  4®. 

^\to  appear,  become  manifest,  to 
quiver,  vibrate,  pburaii,  L 1'. 
pburantao,  iii.  31^ 

4-f3<o  quiver,  shine,  blaze  out.  vip- 
pburaii,  iv.  3'.  vippburanto,  iv.  24®. 

m.to  remember,  sumarasi,  ii.  24®. 

-ffe  to  forget,  visumaridaiiii,  iv.  19'®. 

#lto  fall  down.  samsamuiiaiii,  i. 
27''. 


igti  to  sleep.  suvanti,  i.  14'.  sutto, 
iii.  3^ 


ilsee  arsR. 

ts.  fem.  'sl,  a swan,  flamingo,  ii. ; 
6'®,  8^;  iii.  29\ 

to  call,  summon,  hakkarai,  ii. 
33^  hakkariuna,  ii.  36**.  hak- 
karia,  i.  4'^.  hakkariadu,  iv. 
20». 

[“???]  a hand,  i.  18'“,  26“,  36';  ii. 
017,  20^  29“-  <1;  iii.  3^  23“ ; iv. 
98,9, 10,  u i2“,  1.5“,  20'\ 

^ to  strike,  beat,  liaa,  ii.  43“ 

exclam.,  go  to!  mind  you!  ii.  26\ 
["Ut]  carrying,  ii.  O'*. 

^ts.  a name  of  Qiva,  ii.  6-“;  iii.  3®. 

stealing,  fascinating,  ii.  28“, 
31<*;  iii.  18'. 

ift  ts.  a name  of  Vi$nu,  i.  24“. 

H.  2.  87.  the  city 
of  Harigcandra,  supposed  to  be 
situated  in  mid-air,  a fata  mor- 
gana, iL  40\ 

[°fTra]  yelloiv  orpiment,  iii. 

22\ 

iff  name  of  a poet,  i.  20®“. 

ift^^  ts.  a name  of  Bengal,  i. 
14®. 

ifnir^  [“irT^]  the  moon,  i.  10^  12%  25“ ; 
iii.  20'“,  34“. 

lfw5$  [°fffTg]/e?n.  ®cchl,  deer-eyed,  iii 
22d. 

ifnn?  st.  a doe,  female  antelope, 

41'. 


8.  64.  murmuring,  noise, 
i.  4'“ ; iii.  34®. 

ts.  a vocative  particle  used  in 
addressing  a female  friend,  iv. 
19““. 

iffT^l  turmeric,  iii.  1“. 

1^  to  laugh,  mock.  Cans.,  to  cause  to 
smile,  laugh,  hasanti,  iv.  18'*. 
hasantie,  i.  20'“.  hasia,  iv. 
18'>. 

-\-:3uto  deride,  ridicule,  uvahasiami, 
i.  18“. 

+ ftjfo  smile,  vihasia,  iv.  18®“. 
sr  ah,  alas,  iii.  22“. 

ir  + oft^o  he  inferior  to.  parihia- 
mana,  iii.  8“, 

ITT  ts.  a garland,  necklace,  ii.  10“,  ll^ 
17“  23“,  32“,  3.5“;  iii.  2“,  1S\  20“; 
iv.  7“. 

ITH  ts.  name  of  a poet,  i.  20®“. 

^TTTts.  laughter,  merriment,  ii.  3**,  lO**; 

' iv.  14“. 

fl  ts.  because,  for,  i.  14“,  16“. 
ifiarsT  \j^n]heart,  i.  34““;  ii.  26%  30', 
43“;  iii.  8',  16%  18',  20'®. 

: ■fem  fo  go,  wander,  hindase,  iiL 
34“. 

! to  swing,  hindolaanti,  ii.  29®. 

fl^Traar  [°^]  a swing,  ii.  29“*  ®. 
fl^taa{U4HyjiTT|ff  the  swing- 

breaker,  the  swing-festival,  ii.  6®“. 
fl»riiHi!i  [°!t]  swinging,  ii.  32%  34“. 

#T3T  [°5i]  a diamond,  ii.  25% 

^ S6B  cf^. 

, s.?  o 

ii.  i ts.  the  sound  hum,  murmur,  Inum- 
ming,  L 36^;  iii.  20®;  iv.  15% 


ts.  a small  musical  instrument, 
perhaps  timbrel,  drum,  iv.  16®. 
iv.  21\ 

<^to  carry,  carry  away,  captivate,  to 
enchant,  harai,  iii.  20^,  22®.  ha- 
ranti,  ii.  26®. 


[172 

+ 5TST<o  imitate,  resemble,  aruiharai, 
L 6®.  anuharadi,  ii,  41®. 

+TTfr#o  avoid,  pariharia,  i.  6^ 

+ fgfo  sport,  play,  viharai,  ii.  41®. 
ts.  ease,  facility,  ii.  29®,  35®, 
47®. 


Part  III 


ESSAY 

ON 

RAJAgEKHARA’S  LIFE  AND  WRITINGS 


BY 


STEN  KONOW 


1.  Chronological  List  of  Books  and  Papers  Concerning 

Raja^ekhara. 

1827.  Wilson,  H.  H.  Select  specimens  of  the  theatre  of  the  Hindus.  3 vols.  Calcutta, 
18:16-27.  lleferences  to  3d  ed.,  2 vols.,  London,  1871. 

1862.  Hall,  Fitz-Edward.  Vestiges  of  three  royal  lines  of  Kanyakubja,  or  Kanauj, 
with  indications  of  its  literature.  Journal  of  the  Asiatic  Society  of  Bengal, 
xxxi.  1 ff. 

1869.  Govinda  Deva  S'eistri.  The  Biilaraindyana.  A drama  by  Kajasekhara.  Edited 
etc.  Benares.  Reprinted  from  the  Pandit,  a monthly  journal  of  the  Benares 
college,  devoted  to  Sanskrit  literature,  old  series,  vol.  iii.,  nos.  25-35. 

1871.  V5manac5rya.  The  Viddhasalabhanjikd  edited  etc.  The  Pandit,  old  series, 

vols.  vi.  and  vii.,  nos.  05-73. 

1872.  Vamanacarya.  The  Karpiiramafijan'  edited  etc.  The  Pandit,  old  series,  vol. 

vii.,  nos.  73-76. 

1873.  (JIvananda  Vidyasagara.)  Biddhashala  Bhanjika,  a drama  by  Rajashekhara, 

with  a commentary  by  Satj'avrata  Samasrami.  Calcutta. 

1373.  Aufrecht,  Theodor.  Ueber  die  Paddhati  von  Qarhgadhara.  Zeitschrift  der 
deutschen  morgenliindischen  Gesellschaft,  xxvii.  1-120. 

1878.  Borooah,  Anundoram.  Bhavabhuti  and  his  place  in  Sanskrit  literature. 

Calcutta. 

1879.  Cunningham,  A.  Report  of  a tour  in  the  Central  Provinces  in  1873-74  and 

1874-75.  Archaeological  survey  of  India,  ix.  85.  Calcutta. 

1881.  Borooah,  Anundoram.  Practical  English-Sanskrit  Dictionary.  Vol.  3.  With 
a prefatory  essay  on  the  ancient  geography  of  India.  Calcutta.  See  especially 
§§  134  and  the  following. 

1883.  Milller,  F.  Max.  India  : what  can  it  teach  us?  London. 

1883.  Pischel,  R.  [Review  of]  Kausika’s  Zorn  (Tschandakau9ika).  Ein  indisches 
Drama  von  Kschemisvara.  Zum  ersten  Male  und  metrisch  iibersetzt  von  Ludwig 
Fritze.  Gottiugische  gelehrte  Anzeigen.  1883,  pages  1217-41. 

1883.  Harigcandra.  Karpur  Mariijari,  sattak  (Yah  natak  <;uddha  prakrt  bhasa  mem 
Raja9esara  kabi  ka  banaya  hua  hai . . .)  Banaras  : Aryayantralaya  sambat  1939. 

1883.  JTbananda  Vidyasagara.  Biddhashala  bhanjika,  a drama  by  Rajasekharakabi. 

Edited  with  a commentary.  Calcutta.  “ Dvitiyasaiiiskaranam.” 

1884.  Bhandarkar,  R.  G.  Report  on  the  search  for  Sanskrit  mss.  in  the  Bombay 

Presidency  during  the  year  1882-83.  Bombay. 

175 


17G 


RujagekTiara  s Life  and  Writings. 


1884.  Peterson,  Peter.  A second  report  of  operations  in  search  of  Sanskrit  mss. 

Journal  of  the  Bombay  Branch  of  the  Royal  Asiatic  Society,  no.  xliv.  Pages 
59f,  63f. 

1884.  JIvananda  Vidyasagara.  Balaramayana  naina  natakam  mahakavi  9ri  Eaja9e- 

khara  viracitam  . . , vyakhyayanvitam.  Calcutta. 

1885.  Cappeller,  Carl.  Pracandapandava  [or  Balabharata]  ein  Drama  des  Raja9e- 

khara.  Strassburg. 

1836.  Apte,  Vaman  Shivram.  Rajasekhara:  his  life  and  writings.  Poona:  “Arya- 
Bhushana  ” Press.  Pages  54. 

1836.  Bhaskar  Ramchandra  Arte.  The  Viddhasalabhanjika  of  Rajasekhara;  with 
the  commentary  of  Narayana  Dixit  ...  To  which  is  added  the  Ritusamhara 
of  Kalidasa  with  a close  English  translation  and  various  readings  by  Keshava 
Raoji  Godbole.  Poona. 

1886.  Peterson,  Peter,  and  DurgSprastda.  The  Subhashitavali  of  Vallabhadeva. 

Bombay  Sanskrit  Series,  no.  xxxi.  Bombay. 

1887.  Durg^prasida  and  Kasin^tha  PSndurang.v  Paraba.  The  Karpuramanjari 

(with  the  commentary  of  Vasudeva)  and  the  Balabharata  of  Rajasekhara.  Bom- 
bay. Kavyamala.  4. 

1887.  Fleet,  John  F.  The  date  of  the  poet  Rajasekhara.  Indian  Antiquary,  xvi. 
175-178. 

1889.  Kielhorn,  F.  Siyadoni  stone  inscription.  Epigraphia  Indica,  i.  162-179. 

1890.  L^vi,  Sylvain.  Le  theatre  Indien.  Paris. 

1830.  Vaman  Shastri  Islampurkar.  A lucky  wife  or  Karpoormanjari.  Composed 
from  Prakrita  or  Maharashtri  dialect.  Bombay : “ Tattva-vivechaka  ” Press. 
Vagvilasa-ratnakara,  ratna  1. 

[This  seems  to  be  the  most  convenient  place  for  the  names  of  a few  books 
(1.  Dictionaries;  2.  Grammars;  3.  Texts;  4.  Books  on  plants,  minerals,  etc.)  to 
which  I have  made  more  or  less  frequent  reference  in  the  Notes  to  the  Trans- 
lation. The  list  includes  only  works  whose  titles  have  been  abbreviated  or  about 
the  precise  edition  of  which  there  might  be  some  doubt.  — C.  R.  L.] 

BR.  = Sanskrit- Worterbuch  von  Bohtlingk  und  Roth.  St.  Petersburg,  1855-75. 

OB.  = Sanskrit-Wbrterbuch  in  kiirzerer  Fassung  von  Otto  Bohtlingk.  St.  Petersburg, 
1879-89. 

Molesworth  = Dictionary,  Marathi  and  English,  by  James  T.  Molesworth.  2d  ed. 
Bombay,  1857. 

Hemachandra  = Ilemak'andra’s  Abhidhanak'intamani,  ein  systematisch  angeordnetes 
synonymisches  Lexicon.  Ilerausgegeben,  iibersetzt  und  mit  Anmerkungen 
begleitet  von  Otto  Bohtlingk  und  Charles  Rieu.  St.  Petersburg,  1847. 

HD.  = The  Des'inamamala  of  Hemachandra.  Part  I.  Text  and  critical  notes.  By  B. 
Pischel.  Bombay,  1880.  (See  p.  117.) 

H.  = Ilemacandra’s  Grammatik  der  Prakritspracheu,  herausgegeben  von  R.  Pischel. 
Halle,  1877-80.  (See  p.  117.) 


2.  llajafekhard's  Life. 


177 


Vararuchi  = The  Prakrita-Prakas'a,  or  the  Prakrit  Grammar  of  Vararuchi.  Edited  and 
translated  by  E.  B.  Cowell.  Hertford,  1854. 

Jacobi  = Ausgewahlte  Erzahlungen  in  Maharashtri.  Zur  Einfiihrung  in  das  Studium 
des  Prakrit.  Grammatik.  Text.  Worterbuch.  Von  Hermann  Jacobi.  Leip- 
zig, 18811.  Appended  is  a sketch  of  the  (,,’auraseni. 

Whitney  = A Sanskrit  Grammar.  By  William  D.  Whitney.  2d  ed.  Leipzig,  1889. 

QakuntalS  = S'akuntala  ...  by  Kalidasa.  Edited  by  Monier  Williams.  2d  ed.  Oxford, 
1876.  Cited  on  account  of  the  annotations. 

Megbaduta  = Meghaduta  . . . von  Kalidasa.  Herausgegeben  von  A.  E.  Stenzler. 
Breslau,  1874. 

KSdambarl  = The  Kadambari  of  Bana.  Edited  by  Ka9inath  Pandurang  Parab.  Bom- 
bay, Nirnaya  Sagara  Press,  1890.  The  references  are  to  page  and  line  of  the 
text ; but  may  be  found  with  equal  facility  in  the  translation  of  Miss  C.  M. 
Kidding,  London,  1896. 

Harsbacharita  = The  Harshacharita  of  Bana.  Edited  by  K.  P.  Parab  and  Dh.  P.  Vaze. 

Bombay,  Nirnaya  Sagara  Press,  1892.  The  text  references  (as  before)  will 
serve  also  for  the  translation  of  Cowell  and  Thomas,  London,  1897. 

Parab,  Subh.  = Subhashita^-ratna-bhandagaram,  or  Gems  of  Sanskrit  Poetry.  Selected 
and  arranged  by  K.  P.  Parab.  2d  ed.  Bombay,  Nirnaya  Sagara  Press,  1886. 

Sprllche  = Indische  Spriiche.  Herausgegeben  von  O.  Bbhtlingk.  2d  ed.  St.  Petersburg, 
1870-73. 

Roxburgh  = Flora  Indica,  or  Descriptions  of  Indian  Plants.  By  William  Roxburgh. 
Calcutta,  1874.  Reprinted  from  Carey’s  ed.  of  1832. 

R3janigbantu  = Rajanighantu-sahito  Dhanvantariya-nighantuh.  Poona,  1896.  Auanda- 
89rama  Series,  no.  33. 

SR.  = Saihgita-ratnakara.  Same  Series,  no.  35. 

Griffiths  = The  Paintings  in  the  Buddhist  Cave-Temples  of  Ajanta,  Khandesh,  India. 

By  John  Griffiths.  2 vols.,  folio.  London,  1896-97.  The  references  to  this 
work  were  added  by  me  in  the  proofs.  Hence  their  extreme  brevity.  It  is  to 
be  hoped  that  some  one  w'ith  a good  knowledge  of  the  artificial  poetry  may 
make  a careful  study  of  these  pictures. 


2.  RajaQekhara’s  Life. 

Earlier  Opinions  as  to  Rajacekhara’s  Date.  — The  name  of  Rajagekliara 
has  been  known  to  Indian  scholars  ever  since  the  beginning  of  our  cen- 
tury. Extracts  from  two  of  his  works  were  published  by  the  late  H.  H. 
Wilson.  That  critic  also  tried  to  fix  as  his  date  the  end  of  the  eleventh 
or  the  beginning  of  the  twelfth  century  A.D. 

Aufrecht,  in  his  treatise  on  the  ^arngadharapaddhati,  collected  the 
different  verses  ascribed  in  that  anthology  to  the  name  of  Rajagekhara 


178 


Rdjagekliara  s Life  and  Writings. 


and  expressed  liimself  (p.  77)  to  the  effect  that,  in  his  opinion,  the  poet 
was  the  immediate  predecessor  of  Jayadeva. 

Anundoram  Borooah  is  of  opinion  that  the  tradition  according  to 
which  Rajagekhara  is  said  to  have  been  a contemporary  of  ()amkara 
should  be  trusted,  and  that,  accordingly,  “ we  can  safely  fix  the  seventh 
centuiy  as  his  probable  date.” 

I pass  by  the  opinion  of  F.  Max  Muller  that  Rajagekhara  lived  in  the 
fourteenth  century,  as  being  founded  on  a confusion  of  our  poet  with  a 
younger  Rajagekhara  who  wrote  the  Prabandhakoga,  about  1347  a.d. 
(see  p.  196). 

The  different  allusions  made  by  the  poet  himself  in  his  works  were 
discussed  by  Pischel,  who  came  to  the  conclusion  that  Rajagekhara  must 
have  lived  at  the  end  of  the  tenth  or  the  beginning  of  the  eleventh 
century. 

Peterson  and  Durgaprasada  assure  us  that  Rajagekhara’s  real  date  is 
the  middle  of  the  eighth  century;  which,  according  to  them,  is  shown  by 
the  fact  that  Ksirasvamin,  who  was  the  teacher  of  Jayasimha  of  Kashmir 
(a.d.  750),  quotes  a verse  from  the  Viddhagalabhanjika,  and  that  the 
king  Mahendrapala,  to  whom  Rajagekhara  himself  refers  as  being  a pupil 
of  his  own,  was  reigning  in  761  A.D. 

Vaman  Shivram  Apte,  in  discussing  these  various  views,  comes  to  the 
conclusion  that  Rajagekhara  lived  between  the  end  of  the  seventh  and 
the  middle  of  the  tenth  century,  most  probably  about  the  end  of  the 
eighth,  because  he  quotes  Bhavabhuti  and  is  himself  quoted  in  the 
Dagarupa. 

Durgaprasada  and  Paraba  place  our  poet  between  884  and  959  a.d. 

Rajagekhara’s  Relations  to  MahendrapMa,  and  to  the  Latter’s  Son, 
MahipMa.  — Rajagekhara,  in  all  his  four  extant  plays,  declares  himself 
to  be  the  spiritual  teacher  of  a king  Maliendrapfda  or  Nirbhayaraja.  Cp. 
Viddh.  i.  6 (ed.  Arte),  Raghukulatilako  Mahendrapfilah  sakalakalani- 
layah  sa  yasya  gisyah;  Karp.  i.  5,  Mahindavtllassa  ko  a guru  ; i.  9,  Nib- 
bhararaassa  taha  uvajjhao  ; Bfdar.  i.  5,  Nirbhayaguruh ; Balabh.  i.  11, 
devo  yasya  Mahendrapalanrpatih  gisyo  Raghugramanlh. 

Aufrecht  had  declared  Mahendrapala  and  Nirbhaya  to  be  one  and  the 
same  person,  and  tlieir  identity  was  proved  by  Pischel,  p.  1221.  Nir- 
bhaya, accordingly,  is  a hiruda  or  ovoga  iravgyvpiKov  of  Mahendraprda. 
The  mss.  of  the  Karpuramafijari  are  in  favor  of  the  form  Nibbhara  (only 
the  Jaina  mss.  read  Nibbhaya),  and  Nirbhaya  may  be  a false  Sanskrit 
translation  of  this  name. 

Mahendrapfila’s  son  was  i\Iahq)rila,  the  paramount  sovereign  of 


2.  lidjafelchara's  Life. 


179 


Aryfivarta,  i.e.,  according  to  Brilar.  vi.  52*  (p.  170.6,  ed.  Govinda),  the 
country  to  the  north  of  the  Narmada.  Cp.  Halabh.  i.  7*  (p.  2.  16,  ed. 
Cappeller),  tena  (Mahlpilladevena) ca  Raghuvaih^^amuktamaniiiAryavarta- 
maliarajadhirajena  §riNirbhayanarendranandanenaradhitrih  sabhiisadah. 
Cp.  C.  iNIabel  Duff's  Chronology  of  India,  p.  296  and  82  If. 

Raja?ekhara  lived  about  900  A.D.  — Now  Fleet  has  shown  that  this 
Mahi])ala  must  be  identified  with  the  king  Mahlimla  of  the  Asni  inscrip- 
tion, dated  Vikrama  saiiivat  974  = A.D.  917,  and  has  thus  proved  that 
llajaQekhara  lived  at  the  beginning  of  the  tenth  century  A.D.  As  pointed 
out  by  Pischel  and  Fleet,  the  Brdabharata  was  performed  in  Mahodaya, 
and  Mahodaya  is  another  name  of  Kanyakubja  (Bfdar.  x.  87*,  89'"= p.  306. 
6,  15),  with  which  town  Mahendrapala  and  ]\lahiprila  are  connected  in  the 
Siyadoni  inscription.  See  Kielhorn,  p.  170  f.  For  Mahendrai)ula  we  have 
the  dates  903-4  and  907-8.  Fleet  was  not  aware  of  the  fact  that  Mahen- 
drapfda  and  Nirbhaya  are  one  and  the  same,  and  thought  that  Mahendra- 
pala must  be  another  son  or  a grandson  of  Nirbhayanarendra,  whose  real 
name,  according  to  him,  was  Mahisapala.  But  this  form  of  the  word  is 
rather  suspicious,  and  the  published  photograph  of  the  Asni  inscription  is 
in  favor  of  Mahindrapiila,  as  pointed  out  by  Kielhorn,  p.  171**.  As  for 
this  form,  see  Biihler,  Epigraphia  Indica,  i.  244. 

Kielhorn’s  summing  up  of  the  names  of  the  four  sovereigns  of  Mahodaya 
or  Kanyakubja  or  Kanauj,  as  presented  to  us  by  the  Siyadoni  inscription, 
together  with  their  known  dates,  may  here  be  repeated  for  the  reader’s 
convenience  from  Epigraphia  Indica,  i.  171  : 

1.  Bhoja,  A.D.  862,  876,  and  882. 

2.  Mahendrapala  or  Nirbhayanarendra  or  Mahisapfila,  A.D.  903  and 
907 ; j)upil  of  the  poet  Raja9ekhara. 

3.  His  son  Ksitipala  or  Mahipilla  or  Herambapala,  A.D.  917;  patron 
of  Rajagekhara. 

4.  His  son  Devapala,  a.d.  948. 

Fleet,  Indian  Antiquary,  xv.  105  ff.,  has  edited  an  inscription  from 
Dighwa-Dubauli,  of  the  Maharaja  Mahendrapala  of  Mahodaya,  dated 
Harsa  saihvat  155  = a.d.  761-2.  As  shown  by  Fleet,  xvi.  175  ff.,  this 
feudatory  ^laharaja  must  be  quite  a different  person  from  the  pujDil  of 
Rajagekhara,  but  may  possibly  have  been  one  of  his  ancestors.  Peterson 
and  Durgaprasada  confounded  both,  and  thus  arrived  at  the  false  date 
mentioned  above. 

The  historical  facts  being  thus  finally  established,  it  is  no  longer  neces- 
sary to  comment  upon  other  suggestions  or  conjectures  respecting  the 


180 


Rdjagelchara's  Life  and  Writings. 


poet’s  date.  Nor  can  any  authority  be  attributed  to  the  traditional  account 
that  Rajagekhara  was  a contemporary  of  ^ariikaracarya.  This  ojjinion  is 
founded  on  the  ^aihkaradigvijaya,  a work  which  is,  in  every  respect,  very 
untrustworthy.  The  same  must  be  said  about  the  South  Indian  tradition 
according  to  which  Rajagekhara  was  king  of  Malabar,  his  real  name  being 
Kulagekhara  Perumal.  This  king,  according  to  the  Keralotpatti  or 
Keralavigesamahatmya  lived  in  322  a.d.  (!)  See  Apte,  p.  13,  note. 

Rajagekhara’s  Personal  History.  A Yayavara  Brahman,  of  the  CMva 

Sect.  — Rajagekhara  gives  more  details  about  himself  and  his  family  than 
most  Indian  authors.  According  to  Balar.  i.  6®,  13'*;  Viddh.i.  5%  he  belonged 
to  a Yayavara  family.  Hall,  p.  14,  note,  translates  yayavara  with  ‘main- 
tainer  of  a sacrificial  hearth’;  and  Narayana  Diksita,  in  his  commentary 
on  Viddh.  i.  5^  quotes  Devala  to  show  that  yayavara  means  a kind  of 
grhastha:  dvividho  grhastho  yayavarah  galinag  ca,  ‘there  are  two  kinds  of 
grhastha,  the  yayavara  and  the  galina.’  But  probably  yayavara  is  the 
name  of  the  family.  The  Yayavaras  were  brahmans.  Apte,  p.  18,  justly 
remarks  that  Rajagekhara  must  also  be  presumed  to  have  been  a brahman 
because  he  is  said  to  be  an  incarnation  of  Bhavabhuti  and  because  it  is  not 
becoming  for  a ksatriya  to  be  a guru  or  upadhyaya.  On  the  other  hand, 
Rajagekhara’s  wife,  Avantisundari,  is  called,  at  Karp.  i.  11",  “ The  crest- 
garland  of  the  Chauhan  family,”  and  was  accordingly  a Rajput  princess. 
[Conjectures  about  her  name  in  Pischel’s  Prakrit-grammatik,  p.  39-40.] 

Rajagekhara  seems  to  have  been  a (/aiva.  This,  as  pointed  out  by 
Apte,  p.  19,  is  rendered  probable  by  the  introductory  stanzas  to  his  works. 
Thus  two  of  the  four  introductory  stanzas  in  the  Karpuramanjari  are  in 
praise  of  (/iva  and  Parvati,  as  are  also  Viddh.  i.  3 and  Balabh.  i.  1,  2; 
whereas,  in  the  Balaramayana,  the  abstract  deity  “ vaninam  gumpha  ” is 
extolled.  But  he  cannot  have  been  a bigot;  for  in  the  third  agvasa  of  the 
Yagastilakacampu  we  are  told  that  he,  like  many  other  poets,  when  oc- 
casion arose,  did  honor  to  the  religion  of  the  Jains.  See  Peterson,  A 
second  report,  1884,  p.  45  f. 

Rajagekhara’s  Place  of  Origin  the  Western  Deccan.  — Riijagekhara’s 
family  seems  to  originate  from  Maharastra,  that  is  (cp.  Balar.  x.  73*®-, 
p.  302.  18  ff.),  from  Vidarbha  and  Kuntala.  His  great-grandfather, 
Akfilajalada,  is  called,  in  the  Balar.  i.  13*,  p.  9.  1,  Maharastracudamani, 
‘ a crest- jewel  of  Maharastra.’  Narayana  Diksita,  in  the  introduction  to 
his  commentary  on  the  Viddhagalabhanjika,  tells  us  that  Rajagekhara  in 
the  Bfilaramayana  declares  himself  to  be  from  Maharastra,  and  that  he 
made  use  of  the  language  of  that  country  to  a great  extent.  And  in  the 


2.  Jtdjafekhara's  Life. 


181 


colophon  to  the  Benares  edition  of  the  Karpuramanjarl,  the  poet  is  styled 
Maliarilstracudamani  ‘a  crest-jewel  of  Maharastra.’  On  the  other  liand, 
in  the  Suktimuktavali,  Rajagekhara’s  ancestor,  Surananda,  is  called  Cedi- 
mandalamandanain,  ‘an  ornament  of  the  country  of  the  Cedis.’ 

Apte  has  pointed  out  that  our  poet  is  especially  acquainted  with 
Southern  customs  and  places  and  often  alludes  to  Southern  rivers,  such 
as  Kaverl,  TamraparnI,  Narmada,  etc.  He  knows  “the  black  cheeks, 
the  pure  smile,  and  the  teeth  rubbed  Avhite  with  the  rind  of  betel,  of  the 
Dravida  women,  the  curling  ringlets  of  Karnatic  maidens,  the  ])leasure- 
seeking  propensities  of  Liita,”  etc.  See  Apte,  p.  20  f.  In  the  Aucityavi- 
ciiracarca,  v.  27,  a stanza  by  Ilaja^ekhara  is  quoted  which  does  not  occur 
in  any  of  his  known  works: 

karnatidacj-anankitah  <^itainaliarastrikataksahatah 
praudhandhristanapiditah  pranayiuibhrubhangavitrasitah  | 
latibahuvivestita(;  ca  malayastritarjanitarjitah 
so  ’yam  saiiiprati  Ilaja(;ekharakavir  Varanasiih  vanchati  || 

‘ IMarked  by  the  teeth  of  the  Karnata  maidens,  hurt  by  the  sharp  glances 
of  the  ^Maharastra  women,  pressed  by  the  voluptuous  breasts  of  the 
Andhris,  frightened  by  the  frown  of  his  beloved  friend,  embraced  by  the 
arms  of  the  Lata  maidens,  menaced  by  the  fore-finger  of  the  women  from 
Malaya,  the  poet  RajaQekhara  nowadays  is  longing  for  Benares.’  As  the 
stanza  is  given  by  Ksemendra,  the  Raja^ekhara  here  mentioned  is  presum- 
ably 110  other  than  our  poet.  The  countries  that  are  named  range  from 
Cambay  to  Comorin,  and  justify  little  more  than  the  conjecture  that  Raja- 
Qekhara  Avas  from  the  AVestern  Deccan.  And  as  Ave  find  him  in  the  posi- 
tion of  court-poet  at  Kanauj,  far  to  the  north,  Ave  must  suppose  that  he,  like 
Bilhana,  left  his  native  country  to  seek  Avealth  and  fame  at  foreign  courts. 

Rajagekhara  at  the  Court  of  Kanauj.  — Rajagehliara  seems  to  have  been 
very  proud  of  his  position  as  the  guru  of  king  Mahendrapala,  and  he 
mentions  this  fact  in  all  his  plays.  In  the  Suktimuktavali  Ave  find  a 
stanza  by  a pupil  (antevasin)  of  RajaQekhara,  beginning  agaskarini  kai- 
tabhapramathane.  It  would  of  course  be  impossible  to  tell  whether  this 
antevasin  was  the  king  Mahendrapala. 

The  poet’s  connection  with  the  court  of  Kanauj  seems  to  haA’-e  con- 
tinued on  into  the  reign  of  IMahendrapala’s  son  and  successor,  jMahipala  ; 
for  it  was  at  the  request  of  the  latter  that  the  Balabharata  was  represented. 
But  Ave  do  not  know  how  long  Rajagekhara  remained  at  Mahipala’s  court. 

Rajagekhara  at  the  Court  of  Cedi.  — Rajagekhara  seems  also  to  have 
had  some  connection  Avith  the  Cedi  princes.  His  name  occurs  in  vqrse 


182 


Rdjagekhara's  Life  and  Writings. 


85  of  the  Bilhari  inscription  of  the  rulers  of  Cedi,  published  by  Kielhorn 
in  the  Epigraphia  Indica,  i.  251  ff.  The  verse  runs: 

su9listabandhaghatana  vismitaka\'iraja9ekharastutya  | , 

astam  iyam  akalpam  krti<;  ca  kii-ti^  ca  purvva  ca  || 

‘ May  this  composition,  the  several  parts  of  which  are  well-joined,  and 
Avhich  would  deserve  praise  even  from  the  wonder-struck  poet  Rajagekhara, 
last  to  the  end  of  the  world,  as  well  as  the  preceding  eulogy.’  (Kielhorn.) 
The  reference  to  our  poet  in  a Cedi  inscription  gains  somewhat  in  its 
significance  from  a stanza  in  the  Suktimuktavali,  which  is  attributed  to 
the  name  of  Rajagekhara,  and  which  may  perhaps  be  of  interest  in  this 
connection: 

nadinam  Mekalasuta  nrpanaiii  Ranavigrahah  | 
kavinaiii  ca  Suranandag  Cedimandalamandanam  || 

‘ The  Narmada  among  rivers,  Ranavigraha  among  kings,  and  Suriinanda 
among  poets  adorn  the  country  of  the  Cedis.’  This  verse  seems  to  be 
written  in  praise  of  Ranavigraha,  and  if  that  be  the  case,  it  cannot  belong 
to  the  younger  Rajagekhara.  As  shown  by  Fleet,^  Ranavigraha  is  a 
hiruda  of  the  Cedi  prince  ^amkaragana,  who  lived  about  the  middle  of  the 
tenth  century.  We  may  therefore,  perhaps,  conclude  that  Rajagekhara 
at  some  time  of  his  life  had  connection  with  the  Cedi  court. 

Rajagekhara’s  Ancestry.  — Some  details  about  Rajagekhara’s  ancestry 
are  given  in  his  works.  His  father  was  a high  minister,  mahamantrin 
(Balar.  i.  7^ ; Balabh.  i.  8^®),  Durduka  (Balar.  i.  13^),  or  Duhika  (Viddh. 
i.  5^)  ; and  his  mother’s  name  was  ^Ilavati  (Balar.  i.  13^).  Poetical  skill 
appears  to  have  been  traditional  in  the  family.  In  a well-laiown  stanza, 
Balar.  i.  13,  we  read  : 

sa  murtto  yatrasid  gunagana  ivakalajaladah 
Suranandah  so  ’pi  gravanaputapeyena  vacasa  | 
na  canye  ganyaiite  Tarala-Kaviraja-prablirtayo 
mahabhagas  tasminu  ayam  ajani  yayavarakule  || 

‘This  illustrious  man  (Rajagekhara)  was  born  in  the  Yayavara  family  ; to 
which  belonged  Akalajalada,  like  a host  of  virtues  incarnate ; and  Sura- 
nanda,  whose  words  are  worthy  of  being  drunk  in  by  the  ears  ; not  to  speak 
of  others,  such  as  Tarala  and  Kaviraja.’  See  Aufrecht,  j).  77.  Pisclicl, 
p.  1223,  gives  a slightly  different  translation,  and  remarks  that  the  verse 
does  not  prove  that  Tarala  and  Kaviraja  belonged  to  Rajagekhara’s  family. 

1 The  dynasties  of  the  K an arese  districts  A.n.  1318.  Gazetteer  of  the  Bombay  Presi- 
of  the  Bombay  Presidency  from  the  earliest  dency.  Vol.  i.,  Part  ii.,  Bombay  1896,  p. 
historical  times  to  the  Musalman  conquest  of  414. 


2.  Itdjagekhara's  Life. 


183 


But  in  a stanza,  given  by  Peterson  in  his  Second  Report,  p.  59,  and  prob- 
ably written  by  the  younger  Rfija^-ekhara,  it  is  expressly  stated  that 
Tarala  was  a yiiyavara. 

AkiTlajalada  was  the  great-grandfather  of  Rajagekhara  : see  Balar.  i. 
13^ ; Viddli.  i.  5®;  Aufrecht,  p.  4.  Stanza  777  of  ^arngadhara’s  Paddhati  is 
attributed  to  Akalajalada ; and  as  his  name  is  ingeniously  woven  into 
the  stanza,  with  a double  or  hidden  meaning  (see  Aufrecht,  p.  4),  we 
can  hardly  doubt  the  correctness  of  the  attribution.  The  Subhasitavali 
contains  the  same  stanza,  as  no.  843  ; and  here  it  is  attributed  to  a “ South- 
erner,” diiksinatya.^  But  whether  this  Southern  poet,  Akfilajalada,  the 
author  of  the  stanza,  is  identical  with  the  ancestor  of  Raja^ekhara  is  not 
yet  proved.  According  to  a stanza  ascribed  to  Raja^ekhara  in  the  Sukti- 
muktavali,  the  dramatist  Kadambarirama  plagiarized  from  Akalajalada 
and  thereby  achieved  fame  as  an  excellent  writer.  See  Peterson’s  intro- 
duction to  the  Subhasitavali,  p.  102. 

Suriinanda  must  also  have  been  a poet,  as  may  be  inferred  from  the 
epithets  given  to  him  by  Riljagekhara,  in  the  Ranavigraha  stanza  (above, 
p.  182),  and  as  is  directly  stated  in  the  stanza  just  quoted  (p.  182). 

Tarala’s  name  occurs  in  a stanza  which,  in  the  Siiktimuktavali  and  the 
Ilariharavali.  is  given  under  Rajagekhara’s  name  : 

Yayavarakula^rener  harayastec^  ca  mandanam  | 
suvarnabandharuciras  Taralas  taralo  yatha  || 

‘As  the  central  gem,  brilliant  with  golden  setting,  adorns  the  necklace, 
thus  Tarala,  illustrious  on  account  of  his  Suvarnabandlia,  adorns  the 
Yayavara  family.’  Suvarnabandlia,  with  its  double  meaning,  seems  to 
contain  an  allusion  to  some  work  of  Tarala. 

As  for  Kaviraja,  this  must  mean  a different  person  from  the  author  of 
the  Raghavapandaviya,  if  indeed  the  word  is  here  used  as  a proper  name. 
It  is,  of  course,  often  merely  a honorific  title,  and  is  applied  to  various 
poets.  Thus  Rajagekhara  himself,  according  to  Karp.  i.  9“,  was  succes- 
sively called  balakavi  and  kaviraja ; and,  at  Viddh.  i.  5^  he  calls  himself 
Kaviiajagekhara  — cp.  Bilhari  inscription,  p.  182.  See  Pischel,  Die  Hof- 
dichter,  p.  37. 

^The  Padyavali  contains  a stanza  (or  see  Pischel,  Die  Hofdichter  des  Laksmana- 
more)  ascribed  to  a poet  “of  the  Deccan”  : sena,  Gottingen,  1893,  p.  10. 


184 


Raj agekhara' s Life  and  Writings. 


3.  Rajagekhara’s  Extant  Writings. 

Four  plays  are  extant  Avhicli  are  ascribed  to  Rajagekhara.  Their 
names  are  as  follows  : 

1.  Karpura-mahjari. 

2.  Viddha-Qalabhanjika,  or  ‘ The  Statue.’ 

3.  Bala-ramayana. 

4.  Bala-bharata  or  Pracanda-pandava. 

Karpura-manjari  [ = Camphor-cluster] . — This  is,  in  my  opinion,  the 
oldest  of  our  poet’s  plays  : see  below.  It  is  called  a Sattaka.  This  word 
is  said,  at  i.  6,  to  mean  a kind  of  Natika  where  the  pravegakas  and  vi- 
skambhakas  are  wanting.  The  Sahityadarpana  (no.  642)  adds  that  it  is 
written  entirely  in  Prakrit ; that  the  “ marvellous  flavor  ” (adbhuta  rasa) 
prevails  in  it  ; that  its  acts  are  named  javanika  ; and  that  it,  in  other 
particulars,  is  like  the  Natika  ; further  (no.  429),  that  the  title  of  a 
Sattaka,  as  well  as  that  of  a Natika,  is  to  be  taken  from  the  name  of  the 
heroine.  And  the  Karpuramanjari  and  the  Ratnavali  are  cited  as  titles 
exemplifying  the  rule. 

The  Karpuramanjari  contains  four  acts  called  javanikantara.  It  tells 
us  how  the  king  Candapala  marries  Karpuramanjari,  the  daughter  of  the 
Kuntala  king,  and  thus  becomes  a paramount  sovereign.  The  jealousy  of 
the  queen,  and  the  machinations  that  bring  the  king  and  the  heroine 
together,  form  the  plot  of  the  play.  The  adbhuta  rasa  is  represented  by 
the  sorcerer  Bhairavananda  and  his  tricks.  See  Apte,  p.  22  f. ; Levi, 
p.  249  f. 

That  the  Karpuramanjari  is  the  oldest  of  Bajagekhara’s  known  plays  I 
am  inclined  to  infer  from  the  circumstance  that  it  was  not,  like  the  other 
plays,  acted  at  the  request  of  the  king,  but  by  the  wish  of  the  poet’s  wife 
Avantisundari. 

The  Karpuramanjari  was  edited  for  the  first  time  by  Vamanaciirya  in 
The  Pandit,  1866-72.  Then  follows  the  edition  by  Durgilprasada  and 
Paraba,  1887. 

I have  seen  two  paraphrases  of  the  Karpuramanjail  in  modern  ver- 
naculars. The  first  is  a Hindi  translation  by  the  well-known  poet  Ilari- 
§candra  (cp.  Grierson,  The  modern  vernacular  literature  of  Hindustan, 
Calcutta,  1889,  no.  581),  and  was  printed  in  the  year  1883.  The  other  is 
a Marathi  translation,  Bombay,  1890.  See  the  chronological  list  under 
1883  and  1890. 

Of  the  existing  commentaries,  the  best  known  is  that  of  Vasudeva, 


3.  Rdjagekhara's  Extant  Writings. 


185 


which  Durgaprasada  and  I’araba  have  subjoined  in  tbeir  edition.  It  is 
luirdly  more  than  a Sanskrit  paraphrase,  and  is  of  relatively  small  value. 
Much  better  is  the  South  Indian  commentary  of  Krsnasunu.  Pitambara’s 
Jalpatiratnamanjari  is  also  of  some  use.  The  commentary  of  Dharmadasa 
is  known  to  me  by  name  oidy.  It  is  quoted  by  Durgaprasada  and  Paraba 
in  their  edition  of  the  play.  For  further  information,  see  the  critical 
account  of  the  mss.,  p.  xxiii  IT. 

Viddha-cjMabhaSjika.  — The  next  production  of  our  poet  seems  to  have 
been  the  Viddha-^rdabhanjika  or  The  Statue.  This  is  a Natika  in  four 
acts,  and  the  author  seems,  in  several  points,  to  have  imitated  the  Katna- 
vali.  In  one  passage  (iv.  1^®  = p.  113.  12  ff.  in  the  edition  of  Arte)  the 
plays  of  ^riharsa  are  perhaps  directly  alluded  to.  The  plot  is  quite  similar 
to  that  of  the  Karpuramanjarl.  The  King  Candravarman  of  Lata  has 
no  son.  He  therefore  tries  to  pass  off  as  a boy  his  only  daughter  Mrgan- 
kavali,  and  sends  her  under  the  name  of  Mrgankavarman  to  the  Queen  of 
King  Vidyadharamalla. 

In  the  first  act,  Vidyadharamalla  tells  the  Vidusaka  that  he  has,  in 
a dream,  seen  a beautiful  girl ; but  that,  as  he  tried  to  catch  her,  she  es- 
caped, leaving  her  necklace.  This  was,  as  we  learn  in  the  third  act,  no 
dream,  but  an  actual  fact  brought  about  by  the  contrivings  of  the  King’s 
minister,  who  knew  who  the  dksguised  “boy”  in  the  Queen’s  apartment 
was.  An  attendant  persuades  “ the  boy  ” to  enter  the  King’s  sleeping- 
room,  telling  her  that  she  would  there  meet  the  god  of  love.  A seer  had 
already  foretold  that  whoever  should  take  Mrgahkavali  to  wife  would 
become  a universal  emperor.  And  on  this  account  the  minister  desired 
to  bring  it  about  that  his  royal  master  and  Mrgankavali  should  fall  in  love 
with  each  other.  Afterwards,  the  King  sees  in  the  garden  some  maidens 
amusing  themselves  at  swinging,  and  among  them  recognizes  the  face  he 
saw  in  his  dream.  He  is  now  thoroughly  enamored.  In  a pleasure  house 
he  beholds  a picture  and  a statue  of  Mrgankavali,  and  puts  the  necklace 
on  the  statue.  At  last  he  gets  a glance  of  the  girl  herself,  but  she  imme- 
diately disappears. 

In  the  second  act,  after  some  irrelevant  incidents,  the  King  again  be- 
holds his  beloved,  and  learns  that  she  is,  in  her  turn,  enamored  of  him. 

In  the  third  act,  after  a long  dialogue,  and  a trick  played  by  the  Vidu- 
saka upon  the  Queen’s  confidante  Mekhala,  we  find  the  King  and  the 
Heroine  together  in  the  garden.  But  their  meeting  is  brought  to  a sud- 
den end  by  the  announcement  of  the  approach  of  the  Queen. 

In  the  fourth  act,  the  Vidusaka  and  his  wife  appear  on  the  stage,  the 
latter,  asleep.  In  her  sleep,  she  discloses  the  fact  that  the  Queen  is 


186 


Rdjagekhara  s Life  and  Writings. 


intending  to  make  the  King  marry  jMrgankavarman  in  the  disguise  of  a 
woman,  in  order  to  get  her  revenge  for  the  trick  played  upon  iNlekhala. 
Further  on,  the  wedding  takes  place ; and  now  a messenger  comes  from 
Candravarman  to  announce  that  his  master  has  got  a son,  and  that  the 
supposed  Mrgankavarman  is  in  fact  the  daughter  of  Candravarman. 

A good  resume  of  the  play  is  given  by  AVilson,  ii.  354-60.  See  also 
Apte,  p.  24;  Levi,  p.  245.  Apte  passes  judgment  on  the  literary  merit 
of  the  play  at  p.  28.  ^ 

The  play  was  represented  at  the  request  of  Qriyuvarajadeva  (i.  5^), 
that  is,  according  to  Wilson,  the  heir-apparent,  probably  at  his  installation 
in  the  joint  administration  of  the  government.  The  heir-apparent  must 
be  IMahipala.  But,  as  shown  above  (p.  181),  there  is  some  evidence  that 
Rajagekhara  was  connected  with  the  Cedi  princes.  It  is  therefore  pos- 
sible that  Yuvarajadeva  may  be  one  of  the  Cedi  princes,  either  Keyura- 
varsa  Yuvarajadeva  I.,  who  reigned  about  the  middle  of  the  tenth  century, 
or  Yuvarajadeva  II.,  Avho  was  a contemporary  of  king  Vakpati  of  lUalava. 
See  Kielhorn,  Epigraphia  Indica,  ii.  304;  and  cp.  C.  Mabel  Duff,  Chro- 
nology of  India,  p.  293. 

The  Viddhagalabhahjika  was  edited  by  Vamanacarya  (1866-71), 
Jivananda  Vidyasagara  (1873  and  1883),  and  Bhaskar  Rainchandra  Arte 
(1886).  Arte  has  subjoined  the  commentary  of  Narilyana  Diksita,  the  son 
of  Raiiganatha  Diksita  and  a pupil  of  Damodara.  Niirayana  was  a native 
of  Mahariistra;  according  to  Aufrecht,  he  lived  in  the  eighteenth  century. 


Bala-ramayana.  — Tliis  is  a Nataka  in  ten  acts.  Of  all  Indian  dramas 
it  is  probably  the  greatest  in  bulk.  The  prologue  alone,  as  Apte  observes, 
is  as  long  as  an  act,  and  each  act  has  the  bulk  of  a Natika  like  the  Ratna- 
vali.  The  number  of  stanzas  is  741.  It  is  hard  to  see  how  so  lengthy  a 
play  could  well  have  been  brought  out  upon  the  stage.  And  the  author 
himself  seems  to  have  felt  this  difficulty;  for  he  says  (at  i.  12):  “If  some 
wise  critic  should  find  it  to  be  a fault  of  this  Balaramayana  that  it  is  too 
long,  that  acute  critic  should  be  asked  whether  or  not  some  virtue  is  to  be 
found  in  the  diction.  And  if  this  be  the  case,  well  then,  let  him  read  and 
enjoy  my  six  compositions.”  It  is  here  of  no  importance  whether  the  pro- 
logue is  a later  addition  to  the  play,  as  is  made  probable  by  Pischcl,  p. 
1227.  On  the  other  hand,  we  may  conclude  from  the  words  of  i.  1^  that 
the  play  was  really  represented  at  the  request  of  the  king  jMahendrapfda. 


' [Without  unfairness  to  Kilja^ekhara, 
non-Sanskritists  can  liarclly  accept  Aptets 
strictures  until  some  one  lias  made  a sympa- 
thetic translation  and  interpretation  of  the 


piece.  Such  a treatment  is  in  prospect  from 
the  pen  of  Mr.  Montgomery  Schuyler.  Jr.,  a 
pupil  of  my  friend,  Trofessor  Jackson  of 
Columbia  University.  — C.  K.  T...] 


3.  Ildjafekhara’s  Extant  Writ'in<jn. 


187 


The  Hrilanimayana  relates  the  whole  history  of  Rama  from  Sita’s 
svayaiiivara  to  the  slaying  of  Havana  and  the  return  to  Ayodhya  after  Sita 
had  passed  through  the  ordeal  of  fire.  Havana  is  from  the  very  beginning 
represented  as  the  jealous  rival  of  Hama  and  as  taking  a part  in  the 
svayaiiivara;  and  his  love  and  longing  phi}'  a much  more  prominent  role 
than  his  ferocity  and  cruelty.  The  banishment  of  Hama  is,  in  the  Bfdara- 
mayana,  brought  about  by  yurpanakha  and  other  demons  under  the  dis- 
guise of  Dagaratha  and  Kfiikeyl. 

A full  analysis  of  the  play  is  hardly  called  for.  It  would  involve 
a repetition  of  well-known  incidents.  The  reader  may  consult  Levi, 
p.  272  ff. ; Apte,  p.  31  ff. ; and  Baumgartner,  Das  Hamayana  und  die 
Hama-literatur  der  Inder,  Freiburg  im  Breisgau,  1894,  p.  126. 

As  for  his  sources,  the  poet  seems  to  give  some  hints  concerning  them 
in  the  stanza  at  Balar.  i.  16  and  Balabh.  i.  12,  which  is  ascribed  to 
Dfiivajua  : 

babhuva  Valmikabhavah  pura  kavis 
tatah  prapede  bhuvi  Bhartrmenthatam  | 
sthitah  punar  yo  Bhavabhutirekhaya 
sa  vartate  saihprati  Raja9ekharah  || 

‘ lie  who  in  former  days  was  the  poet  sprung  from  the  ant-hill  (VTdmiki) 
and  subsequently  assumed  on  earth  the  form  of  Bhartnnentha  and  who 
again  appeared  in  the  person  of  Bhavabhuti,  the  same  is  now  Haja§ekhara.’ 

That  our  poet  is  largely  indebted  to  the  works  of  Valmiki  and  Bhava- 
bhuti is  clearly  shown  by  Apte.  For  the  most  part  he  drew  upon  the 
Hamayana  of  Valmiki;  and  where  he  deviated,  “he  clearly  imitated 
Bhavabhuti ; and  there  are  unmistakable  signs  that  he  had  the  Mahavira- 
charita  before  him  at  the  time  of  writing  this  play  [cp.  e.g.  Balar.  x.  65 
and  Mahav.  i.  55].  ...  In  the  sixth  act,  he  follows  Bhavabhuti  in 
exculpating  Dagaratha’s  wife.  . . . The  scene  of  Lanka  and  Alaka  is  a 
clear  imitation  of  Bhavabhuti  etc.”  See  Apte,  p.  37,  38.  Levi  (p.  292  f.) 
speaks  of  Riljagekhara’s  relation  to  Bhavabhuti,  and  shows  (Appendice,  p. 
37)  that  the  former  occasionally  imitated  Kalidasa. 

Bhartrmentha  is  less  known.  Cp.  Peterson  and  Durgaprasada,  Intro- 
duction, p.  92  ; Biihler,  Detailed  report  of  a tour  in  search  of  Sanskrit 
mss.,  Bombay,  1877,  p.  42 ; Aufrecht,  ZDMG.  36.  368  ; Levi,  p.  183. 
Bhartrmentha  seems  also  to  be  called  Hastij^aka,  which  word  is  equiva- 
lent to  INIentha.  His  kiivya,  Ilayagrivavadha,  is  known  from  the  Haja- 
tarangini  and  from  quotations.  Now  I think  that  Levi  was  right  in 
inferring  from  the  verse  before  us  that  Bhartrmentha  has,  in  some  way  or 
other,  treated  the  history  of  Rama.  But  I cannot  deem  Levi’s  siqDposi- 
tion  (Appendice,  p.  47),  that  the  work  in  which  Bhartnnentha  did  so  may 


188 


Rdjafehhara  s Life  and  Writings. 


be  the  Bhattikavya,  to  be  a probable  one.  The  same  opinion  that  Levi 
held,  had  been  previously  expressed  by  Borooah,  p.  20. 

Burnell’s  opinion  of  the  Balaramayana  is  that  “it  has  nothing  remark- 
able about  it  but  its  prosy  length.”  See  Classified  Index,  p.  169.  But  it 
must  be  admitted  that  there  are  several  passages  of  great  lyrical  beauty  in 
it,  and  that  the  poet’s  mastery  of  the  several  languages  is  better  shown  in 
the  Balaramayana  than  in  any  other  of  his  plays. 

The  Balaramayana  was  edited  by  Govinda  Deva,  Benares,  1869,  and  by 
Jiviinanda,  Calcutta,  1884.  No  complete  commentary  is  known  to  exist. 

BMa-bharata.  — Rajagekhara’s  last  work  is  the  Bala-bharata,  or,  as  it  is 
sometimes  called,  the  Pracanda-pandava.  Both  names  are  used  in  the  play 
itself:  see  i.  8*  and  h It  is  a Nataka  (see  text,  i.  8);  and  as  such,  it  ought 
to  contain  at  least  five  acts.  In  fact,  however,  it  has  only  two.  It  seems 
accordingly  to  be  incomplete,  and  was  very  likely  “ projected  on  the  same 
plan  as  the  Bala-ramayana  ” (Apte,  p.  39). 

As  the  poet  himself  tells  us,  the  Bala-bharata  is  founded  on  the  INIaha- 
bharata.  See  i.  4,  where  Rajagekhara  implores  Vyasa  to  grant  him  the 
help  of  his  muse.  The  play  has  three  stanzas  taken  directly  from  the 
Maha-bharata.  These  are:  i.  18  = MBh.  i.  62.  53  (=2333);  ii.  5 = MBh. 

i.  1.  Ill  (=  109)  or  V.  29.  53  (=  861);  and  ii.  6 = i.  1.  110  ( = 108)  or 
V.  29.  52  ( = 860). 

In  the  first  act,  the  svayamvara  of  Draupadi  is  described.  In  the 
second  act  we  learn  how  Yudhisthira  lost  everything  in  gambling;  how 
Duhgasana  dragged  Draupadi  by  the  hair  of  the  head;  and  how  at  last  the 
Pandavas  depart  to  the  forest. 

For  an  account  of  the  contents,  see  Apte,  p.  40-41.  See  also  Wilson, 

ii.  361.  “ The  story  is  not  very  interestingly  told;  . . . but  the  verses  are 
smooth  and  flowing,”  says  Apte. 

The  play  was  represented  at  Mahodaya  (Kanauj)  before  Mahipala,  then 
paramount  sovereign  over  Aryavarta,  and  it  appears  to  have  been  the  last 
work  of  our  poet. 

The  Bfda-bharata  was  edited  by  Cappeller,  Strassburg,  1885.  See  A. 
Weber’s  notice  of  the  edition  in  Indische  Studien,  xviii.  481-3.  It  was 
also  edited  by  Durgaprasad  and  Parab,  Bombay,  1887,  in  the  Kavya-mida. 
In  this  latter  edition,  after  stanza  i.  32,  only  the  chiiya  of  the  Prakrit 
passages  is  given. 

4.  Lost  Works  and  the  Anthologies. 

A Tradition  of  More  than  Four  Works.  — Rajagekhara  speaks  of  “ our 
six  works”  at  Balar.  i.  12,  as  we  saw,  p.  186.  Four  of  these  have  been  dis- 


4.  Lost  Works  and  the  Antholoyies. 


180 


cussed.  Of  the  other  two  we  have  at  present  no  knowledge.  If  we  may 
trust  the  statement  made  at  Karp.  i.  9,  that  the  poet  had  already  achieved 
eminence  when  he  wrote  the  Karpuramanjari,  it  may  be  that  these  other 
two  works  preceded  the  Karpuramanjari  and  were  his  earliest  productions. 
And  it  is  of  course  possible  that  they  are  still  extant  under  some  other 
author-name  (such,  for  instance,  as  Candra-cuda),  equivalent  in  meaning 
to  “ Kajayekhara,”  but  quite  unlike  it  in  form. 

Fragments  in  the  Anthologies.  — The  Anthologies  give  a considerable 
number  of  stanzas  which  they  ascribe  to  RajaQekhara.  It  may  be  that 
some  of  these  are  taken  from  “these  other  two  works.”  And  it  is  worth 
while  to  assemble  them  here,  either  as  a help  for  future  students  in  the 
identification  of  the  two  works,  if  they  are  still  extant ; or  else  as  frag- 
ments, if  they  are  lost. 

My  collections  are  made  from  two  anthologies  : the  Paddhati  of  (larii- 
gadhara,  and  the  Subhasitavali  of  Vallabhadeva.  It  is  convenient  to  have 
their  dates  given  here,  (larngadhara’s  work  was  written  about  1363  a.d. 
(Grierson,  Modern  Vernacular  Literature  of  Hindustan,  p.  6).  Valla- 
bhadeva flourished  probably  between  1400  and  1450  a.d.  (Biihler,  Kunst- 
poesie,  p.  71).  I give  first  the  twenty-five  pratikas  of  the  twenty-four 
stanzas  which  I have  identified  as  parts  of  Rajagekhara’s  four  known 
plays ; and  then  those  of  the  ten  stanzas  which  I have  not  been  able 
to  trace  in  Riijagekhara’s  writings. 

The  few  stanzas  from  Vallabhadeva’s  collection  are  marked  “Val.”; 
the  rest  are  from  ^arngadhara’s.  In  order  to  avoid  “ overrunning  ” of 
lines,  I abbreviate  Viddh.  by  V. ; Bala-r.  by  R. ; Bala-bh.  by  Bh. ; and 
Karp,  by  K. 

Anthology-stanzas  (24)  identified  in  Raja9ekliara’s  Writings.  — We  will 
first  examine  the  stanzas  given  by  the  Anthologies  with  or  without  ex- 
plicit statement  of  authorship,  and  traceable  to  the  writings  of  our  poet. 

The  following  eleven  are  ascribed  by  the  Anthologist  to  Raja§ekhara, 
either  expressly  by  name,  or  else  by  reference  to  one  of  his  plays,  and  are 
found  in  his  writings  : 

3659.  taramgaya  drgo.  = V.  iii.  27 ; R.  iii.  25 ; Bh.  i.  31. 

3750.  nirvyaja  dayite.=  R.  iv.  44. 

3757.  abhyutthanam  upagate.  = R.  iv.  43. 

3837.  dliatte  pankajinitale.  = V.  i.  43. 

3928.  vaktragrijita-.  = V.  ii.  11. 

3936.  vahneh  gaktir.  = R.  v.  35. 


190 


Rdjagekhara’ s Life  and  Writings. 


V al.  322.  udanvacchinnii.  = R,  i.  8.  See  Bhartrhari,  and  below,  p.  190. 

Val.  1411.  dahombhah.  = V.  ii.  21.  Cp.  K.  ii.  29. 

Val.  2223.  bbindanah  sundarinara.  = V.  i.  12.  See  below. 

Val.  2281  = Val.  3446.  lokottaraih  caritam.  = R.  ii.  51. 

Val.  2282.  = prtbvi  stbira  bhava.  = R.  i.  48. 

The  following  eleven,  accredited  by  the  anthologist,  ^arngadhara,  to 
“Somebody”  (^Kasyacit,  or  the  like),  that  is,  given  as  anonymous  verses, 
are  found  in  Rajagekhara’s  writings  : 

1099.  yasya  vajramaner  bhede.  = R.  iii.  66. 

3077.  kulagurur  abalanam.  “kasyapi.”  = V.  i.  1. 

3282.  padbhyam  muktas.  = Bh.  i.  28. 

3373.  tad  vaktram  yadi.  = V.  i.  14  ; R.  ii.  17. 

3516.  upaprakaragram.  = V.  i.  31. 

3591.  sairandhrikarakrsta-.  = V.  ii.  23. 

3719.  vrajaty  aparavaridhim.  = V.  iv.  1. 

[3722.  ( = Val.  2223,  above.)  bhindano  manininam.  = V.  i.  12.] 

3816.  ye  dolakelikarah.  = V.  i.  27  ; cp.  R.  x.  55. 

3912.  celahcalena.  = V.  ii.  9. 

3929.  amandamani-.  = V.  ii.  6. 

The  stanza  drga  dagdham  is  given  as  an  anonymous  one  by  Vallabha- 
deva,  no.  1309  ; while  ^arngadhara  (no.  3078)  ascribes  it  to  Ksemendra 
(about  1037  a.d.  ! ).  As  a matter  of  fact,  it  is  found  more  than  a century 
earlier,  at  Viddh.  i.  2.  (See  also  Spriiche.) 

Three  of  Rajagekhara’s  stanzas  occur  in  one  recension  or  another  of  the 
(]!atakas  of  Bhartrhari  (about  650  a.d.?).  Did  our  dramatist  take  them 
from  his  predecessor?  or  were  they  taken  from  Rajagekhara  by  some  later 
redactor  of  the  (Jatakas  and  added  thereto  (as  was  the  case  with  Kalidasa’s 
andghrdtam  puspainfi)  ? Apte  discusses  the  question  at  p.  52  and  deems 
the  latter  alternative  the  more  likely.  Vallabhadeva  ascribes  the  first  to 
Rajagekhara,  see  above.  For  detailed  references,  see  Spriiche,  where  all 
three  are  given.  The  stanzas  are  : 

Balar.  i.  8,  udanvacchinna  bhuh  (see  above)  ; 

Balar.  iii.  17,  sthitih  punye  ‘ranye  ; 

Balar.  vii.  40,  vahati  bhuvanagrenim. 

Anthology-Stanzas  (lo),  “ of  Rajagekhara,”  not  yet  traced.  — There  re- 
main a few  stanzas  which  the  anthologies  ascribe  to  Rajagekhara,  but  which 
have  not  yet  been  traced  by  me  to  any  of  his  known  works.  They  are : 

85.  tarn  vande  padmasadmanam. 

251.  nunaih  diigdliabdlii-.  (See  Indische  Spriiche,  3806.) 


5.  Jidjapekhara  and  the  Prakrit  Literature. 


191 


3423.  aluu-e  viratih.  (Spriiche,  1079.)  =Val.  3485,  as  anonymous. 

3926.  cancallolancalani. 

Val.  2563.  indor  laksma. 

Val.  3046.  datur  varidharasya. 

174.  tiayo  ‘gnayas  trayo  vedilh. 

188.  I5haso  Hainila-Somilau. 

189.  aho  prabhavo  vagdevyilh. 

190.  Saras  vatipavitranani. 

The  first  of  these  ten  looks  like  the  introductory  stanza  of  some 
lost  work.  The  Rajagekhara  to  whom  the  last  four  are  ascribed  is,  1 opine, 
the  younger  Rajagekhara,  of  later  date  than  our  dramatist  (see  p.  196). 

6.  Rajacpekhara  and  the  Prakrit  Literature. 

The  Literary  Prakrits  and  the  Real  Vernaculars.  — Rajagekhara’s 
writings  would  probably  be  of  less  importance  to  us  if  we  were  better  in- 
formed about  the  history  of  Prakrit  literature.  But  on  this  subject  our 
knowledge  is  exceedingly  limited.  The  word  Prakrit  itself  has  different 
meanings.  Thus  in  modern  Indian  books,  we  find  it  used  in  the  sense  of 
vernacular;  but  its  general  use  is  to  designate  the  literary  dialects  de- 
scribed by  the  Prakrit  grammarians.  These  dialects  were  not  real  ver- 
naculars, and  are  clearly  distinguished  from  them  by  native  writers,  the 
literary  dialects  being  called  Prakrits,  while  the  spoken  vernaculars  are 
called  ApabhraiiQas  or  Degibhasas. 

The  Prakrits  are,  of  course,  developed  from  Apabhraiigas,  and  the  first 
beginnings  of  Prakrit  literature  must  therefore  be  traced  back  to  the  old 
literature  in  the  vernaculars;  but  this  task  still  lies  beyond  the  reach  of 
our  abilities.  From  a comparative  analysis  of  the  ancient  literary  remains 
of  India,  it  must  be  concluded  that,  from  the  earliest  times,  there  were 
many  stanzas  current  among  the  people,  relating  old  legends  and  tradi- 
tional tales,  and  that  many  of  those  stanzas  were  current  in  the  old 
vernaculars.  Most  of  them  are  probably  incorporated  in  the  great  Indian 
epics,  and  our  principal  knowledge  of  them  must  be  derived  from  those 
soiu’ces.  Such  stanzas  are  alluded  to  and  quoted  as  early  as  in  the  time  of 
the  Brahmanas;  and  several  Vedic  hymns  must  be  reckoned  to  that  branch 
of  literature.  But  this  question  is  connected  with  the  history  of  Indian 
literature  in  general  and  cannot  be  discussed  here.  Our  present  inquiries 
must  be  restricted  to  the  poetical  literature  in  Prakrit  proper,  and  I 
must  therefore  leave  out  of  account  the  large  Pali  literature,  which  has 
a history  of  its  own,  and  also  the  literature  of  the  Jainas,  though  this 


192 


Rdjagekliara's  Life  and  Writings. 


sect  has  exerted  the  preponderating  influence  upon  *the  development 
of  Prakrit  literature  in  general.  Thus  most  of  the  authors  who  have 
written  on  Prakrit  grammar  and  lexicography  are  Jainas.  And  the 
circumstance  that  the  Jainas  chose  the  Maharastri  for  their  literary  com- 
positions, contributed  greatly  to  the  development  of  that  language  for 
literary  uses. 

On  the  other  hand,  the  Jainas  cannot  be  supposed  to  have  written  in 
a language  not  before  used  in  literature,  and  modern  inquiries  point  to  the 
conclusion  that  a large  poetical  literature  existed  in  Prakrit,  though  only 
a small  portion  of  it  has  come  down  to  us.  The  reason  for  this  fact  is  not 
very  hard  to  find.  The  golden  age  of  Prakrit  literature  falls  in  the  time 
before  the  Sanskrit  literature  had  reached  its  classical  perfection.  The 
great  gap  in  the  history  of  that  literature,  between  the  end  of  the  epic 
period  and  the  epoch  which  Max  Muller  called  the  renaissance  of  Sanskrit 
literature,  has  proved  to  be  partly  an  illusion,  and  we  now  know  that 
Sanskrit  literature  dates  much  farther  back  than  was  formerly  supposed. 
But  its  fuller  development  at  the  hands  of  the  great  mediaeval  poets  of 
India  absorbed  all  the  interest  of  the  educated  classes,  and  to  this  day  the 
systematic  searches  for  mss.  in  India  have  often  had  Sanskrit  literature 
chiefly  in  view. 

Early  Prakrit  Lyrics.  — The  oldest  poetry  of  India  is  contained  in  the 
Vedic  hymns  and  belongs  to  the  religious  branch  of  lyrics.  In  later  times, 
we  find  this  branch  of  literature  represented  by  the  poems  of  the  different 
Indian  sects,  the  religious  gatakas,  the  stotras,  and  stutis.  A good  deal  of 
this  literature  is  written  in  Prakrit,  but  must  be  treated  in  connection  with 
the  religious  history  of  India,  especially  that  of  the  Jains.  It  is  in  the 
secular  lyrics  that  the  Indian  literature  has  reached  its  highest  perfection. 
This  literature  has  not  produced  many  complete  works,  but  is  generally 
contained  in  numerous  detached  verses,  each  giving  a little  genre-picture 
of  Indian  life.  Most  of  these  verses  are  erotic,  and  are  generally  admired 
by  the  critics.  ' 

HMa’s  “Seven  Centuries.”  — Such  verses  were,  in  early  times,  col- 
lected into  anthologies,  often  called  gatakas  or  centuries.  The  most 
ancient  extant  anthology  that  we  know  is  the  Sattasai  or  the  “ Seven 
Centuries  ” of  Hfila.  This  work  is  entirely  written  in  Milluirastri  Prakrit, 
and  we  have  no  knowledge  of  the  existence  of  any  work,  of  that  kind  and 
of  equal  age,  written  in  Sanskrit.  Hfila  is  another  name  of  Satavfihana, 
a name  which  often  occurs  in  the  Andhrabhrtya  dynasty.  Hfila  was 
probably  not  himself  the  compiler  of  the  Sattasai,  but  only  the  compiler’s 


liCtjafekhara  and  the  Prakrit  Literature. 


193 


patron.  The  time  of  his  life  cannot  be  fixed  with  certainty,  but  he  prob- 
ably belongs  to  the  first  centuries  of  our  era,  and  he  must  have  lived  a 
long  time  before  Bana,  who,  in  his  Harsacarita,  Introduction,  verse  13, 
praises  the  Sattasal.  In  Ilfila’s  anthology,  the  author’s  name  is  quoted 
after  many  of  the  verses,  and  from  this  fact  we  may  conclude  that  Prakrit 
lyrics  have  a history  which  goes  back  to  a time  long  before  Ililla.  Un- 
fortunately we  do  not  know  anything  but  the  names  of  some  of  these  poets. 
Nor  are  we  much  better  informed  as  to  the  later  development  of  this 
branch  of  Prakrit  literature. 

Jayavallabha’s  Vajjalagga. — Bhandarkar,  Report  for  1883-84,  p.  17, 
notices  a second  anthology,  the  Vajjfdagga,  composed  b)'’  the  ^vetambara 
Jain,  Jayavallabha.  I cannot,  from  the  materials  at  my  disposal,  fix 
his  time  ; but  the  commentary  of  Ratnadeva  is  dated  in  the  year  1393, 
which  must,  according  to  Bhandarkar,  be  of  the  Vikrama  era,  and  the 
same  scholar  has  found  verses  from  the  Gaudavaho  in  the  collection.  The 
name  Vajjalagga  is  derived  from  the  systematic  arrangement  in  vrajyas  or 
chapters,  each  treating  a different  subject.  There  are  48  such  chapters, 
which  are  enumerated  in  5 gathas.  The  total  number  of  verses  is  704 ; 
and,  judging  by  the  specimen  given  by  Bhandarkar,  the  Vajjalagga  must 
be  much  like  to  the  Sattasai.  For  the  form  of  the  title,  cp.  Bhandarkar, 
I.C.,  p.  324,  comm,  on  stanza  4;  and  HD.  7.  17.  The  language  is  the 
Maharastri. 

I am  not  aware  of  the  existence  of  other  poetical  anthologies  in  Prakrit. 

Anandavardhana’s  Visamabanalila. — Anandavardhana,  who,  accord- 
ing to  the  RajatarauginI,  v.  34,  obtained  fame  under  the  king  Avanti- 
varman  of  Kashmir  (855-84),  wrote  a Prakrit  poem,  the  Visamabanalila. 
AVe  know  this  work  from  quotations  in  the  author’s  rhetorical  work,  the 
Dhvanyaloka.  These  quotations  seem  to  show  that  the  Visamabanalila 
was  also  an  anthology,  probably  written  for  the  use  of  poets  (kavivyut- 
pattaye,  Dhvanyaloka,  iv.  7). 

Anandavardhana  quotes  verses  in  Apabhranga  and  may  have  composed 
his  anthology  also  in  Apabhranga.  The  quotations  by  Hemacandra  must 
be  taken  from  some  such  work,  but  we  do  not  know  anything  more  about 
it,  and  the  Apabhranga  literature  lies  outside  of  our  subject.  Nor  can  I 
here  dwell  on  works  such  as  the  Rsabhapancagika  of  Dhanapala  (tenth 
century),  because  it  belongs  to  the  religious  literature  of  the  Jains. 

Gunadhya’s  Brhatkatha. — The  lyrical  Prakrit  literature  is,  for  the 
most  part,  written  in  Maharastri.  But  the  first  name  which  occurs  in  the 
poetical  Prakrit  literature,  is  connected  with  another  dialect,  the  Paigaci. 


194 


Rdjagekhara's  Life  and  Writings. 


The  poet  Gunadliya  is  said  to  have  written  his  Brhatkatha  in  that  lan- 
guage. Gunadhya  is  commonly  supposed  to  have  lived  in  the  first  centu- 
ries of  our  era.  See  Biihler,  Report,  p.  47.  The  Brhatkatha  was  not  an 
original  work  of  Gunadhya,  but  a compilation  of  folk-tales  then  current, 
such  as  the  Pancatantra  and  the  Vetalapaiicavihgati,  which  collections  are, 
to  this  day,  widely  spread  in  the  modern  vernaculars  of  India.  The  work 
itself  has  not  been  found,  but  we  know  it  pretty  well  from  the  two  trans- 
lations, one  by  Ksemendra,  the  Brhatkathamanjari,  and  the  other  by 
Somadeva,  the  Kathasaritsagara.  According  to  the  testimony  of  those 
authors  and  of  Dandin,  it  was  wi’itten  in  the  Paigaci  language.  This  dia- 
lect is  described  by  Hemacandra  in  his  Prakrit  grammar,  iv.  303  ff.,  and 
it  is  probable  that  Hemacandra  made  actual  use  of  a copy  of  the  Brhat- 
katha. See  Pischel,  De  Grammaticis  Pracriticis,  Vratislaviae,  1874,  p.  33. 
Biihler,  also,  when  in  India,  was  told  that  manuscripts  of  the  work  were 
still  extant. 

The  Paigaci  seems  to  be  more  closely  connected  with  the  really  spoken 
vernaculars  of  ancient  India  than  is  any  other  literary  Prakrit.  And  that 
branch  of  literature  which  is  represented  by  the  Brhatkatha  must  always 
have  been  popular.  In  some  of  the  Sanskrit  collections  of  folk-tales  we 
also  find  verses  in  the  old  vernaculars,  the  Apabhrangas.  But  the  history 
of  this  literature  is  too  closely  connected  with  the  general  literary  and 
linguistic  history  of  India  to  be  dealt  with  here,  and  we  shall  only  state 
the  fact  that  the  earliest  collection  of  folk-tales  of  which  we  have  certain 
knowledge  was  written  in  Prakrit. 

In  the  Mahakavya,  on  the  other  hand,  the  priority  must  unquestionably 
be  assigned  to  the  Sanskrit  literature.  Aside  from  the  Riimayana,  no 
Prakrit  kavya  can  claim  an  antiquity  equal  to  that  of  the  Buddhacarita 
of  Agvaghosa. 

Prakrit  Kavyas.  Ravana-vaha.  — The  oldest  Prakrit  kav}*a  is  the 
Setubandha.  This  poem,  whose  Prakrit  name  is  Ravanavaha  or  Dahamu- 
havaha,  contains  in  15  Sargas  the  story  of  Rama,  from  the  starting  of  the 
monkey  army  to  the  slaying  of  Ravana.  It  was  formerly  ascribed  to 
Kalidasa  ; so  by  the  commentator  Ramadasa,  who  lived  under  tlie  emperor 
Akbar.  And  also  in  the  colophons  the  name  of  Kfilidasa  occurs.  But 
tradition  generally  ascribes  the  poem  to  Pravarasena.  Thus  Bana  does,  in 
the  Harsacarita,  Introduction,  verse  14,  and  Ksemendra,  in  the  Aucitya- 
vicaracarca,  verse  16.  According  to  Ravanavaha,  i.  9,  the  work  seems  to 
have  been  completed  at  the  request  of  a king  by  some  poet.  Pravarasena 
was  therefore  probably  a king.  We  know  four  kings  by  that  name.  As 
the  Ravanavaha  is  mentioned  by  Danglin  and  Bana,  it  cannot  be  later  tlmn 


5.  Rdjafckhara  and  the  Prakrit  Literature. 


195 


the  sixth  century.  Tradition  seems  to  point  to  one  of  tlie  two  Kashmirian 
kings  of  that  name.  The  poem  was  jicrhajis  written  on  the  occasion  of  the 
building  of  a great  bridge  over  the  Vita.sta  or  Jehlam  by  Pravarasena  II. 
See  Rajatarangini,  iii.  354.  This  king  is  now  commonly  placed  in  the 
sixth  century  after  Christ. 

It  is  likely  that  Pravarasena  Avas  not  himself  the  author,  but  that  the 
work  was  merely  dedicated  to  him.  We  cannot  ascertain  who  the  real 
author  was.  Rut  it  is  not  probable  that  we  have  to  do  with  a Avork  by 
Krdidasa.  The  excessive  use  of  compounds  is  not  in  accord  Avith  Ktllidasa’s 
style ; and  it  AA'ould  be  difficult  to  understand  Avliy  Rana  and  Ksemendra 
did  not  ascribe  the  work  to  Krdidiisa,  if  it  Avere  really  Avritteii  by  him. 

Bappai-raa’s  Gauda-vaha.  — Another  Prakrit  kiwya  is  the  Gaudavaha 
of  Rappai-riia,  Avritten  about  750  a.d.  and  in  celebration  of  the  poet’s 
patron,  king  Yagovarman  of  Kanauj.  This  poem  seems  to  have  come 
down  to  us  in  mutilated  form.  The  different  parts  of  it  are  very  loosely 
connected,  and  the  theme  itself,  the  slaying  of  the  Gauda  king,  is  hardly 
more  than  vaguely  alluded  to.  The  king  Yagovarman  Avas  subjugated  by 
the  king  Lalitaditya  of  Kashmir  (about  72C  a.d.),  and  Rappairaa  therefore 
Avas  a contemporary  of  RhaA'abhuti.  See  Rajatarangini,  iA\  144.  His 
Sanskrit  name  is  Vakpatiraja,  probably  a translation  of  the  Prakrit  name. 

AnandaA'ardhana,  in  his  DliA'anyaloka,  quotes  verses  from  a third 
Prakrit  kavya,  the  Harivijaya  of  Sarvasena,  Avhich  Avork  is  not  otherwise 
knoAvn. 

Rajagekhara  is  not  known  to  have  Avritten  other  Avorks  than  dramas. 

Prakrit  Drama  : Sattakas.  — The  Indian  drama  seems  to  have  its  root 
partly  in  Sanskrit,  partly  in  Prakrit  literature.  The  one  play  Avhich  is 
written  in  Prakrit  exclusively  is  the  Karpuramaiijari.  Rut  Ave  are,  I 
think,  right  in  concluding  from  the  definition  of  the  word  sattaka,  given 
in  the  work  itself,  that  the  Karpuramanjari  was  not  the  first  composition 
of  its  kind.  And  the  Avord  sattaka  occurs,  in  the  form  sadaka,  as  early  as 
on  the  Rharhut  stupa.  The  quotatiou  from  Tagore,  given  by  Levi,  ii.  5, 
may  help  us  to  understand  the  origin  of  the  sattaka.  In  most  character- 
istics it  agrees  Avith  the  Natika,  but  Avas  perhaps  classed  separately,  not 
only  because  it  Avas  written  entirely  in  Prakrit,  but  also  because  a distinct 
kind  of  dancing  Avas  used  in  it. 

Karpura-manjari  the  only  Sattaka  Extant.  — At  all  events,  Rajage- 
khara’s  Avork  is  the  only  extant  pure  Prakrit  drama;  and  his  chief  im- 
portance in  the  history  of  Prakrit  literature  lies  in  the  fact  that  he  has 


196 


Rdjagekliara  s Life  and  Writings. 


given  to  us  a unique  specimen  of  a kind  of  literature  which  has  perhaps 
a history  of  its  own. 

This  Play  Important  for  the  History  of  the  Drama.  — The  Karpura- 
inahjari  is  also  of  importance  for  the  history  of  the  Indian  drama  in 
general.  To  judge  from  some  indications  in  the  rhetorical  literature,  we 
must  suppose  that,  in  early  times,  a sthapaka  (as  well  as  the  sutradhara) 
had  something  to  do  Avith  the  arrangement  of  the  play.  But  in  most  of 
the  known  plays,  the  sthapaka  has  disappeared.  In  his  recension  of 
Levi’s  book,  Le  theatre  Indien,  in  the  Gottingische  Gelehrte  Anzeigen, 
1891,  p.  361,  Pischel  has  suggested  that  this  fact  is  owing  to  a reformation 
by  Bhasa  (cp.  Pischel,  ibidem,  1883,  p.  1234). 

In  the  Karpuramanjari  Ave  still  find  the  sthapaka  in  action.  Most  of 
the  mss.,  it  is  true,  have  substituted  the  more  usual  Avord  sutradhara  for 
sthapaka,  Avhere  the  latter  occurs ; but  it  clearly  appears  from  the  Avhole 
arrangement  of  the  introduction  that  this  proceeding  is  false.  In  i.  12^, 
we  learn  that  the  “ajjo”  is  busy  Avith  his  wife  in  the  tiring-room.  There 
is  no  question  that  the  word  ajja  or  arya  in  this  passage  means  the  sutra- 
dhara. It  therefore  follows  that  the  sutradhara  Avas  not  on  the  stage 
betAveen  the  end  of  the  nandi  and  that  of  the  prastavana.  We  must  ac- 
cordingly conclude  that  those  manuscripts  are  right  Avhich  represent  a 
sthapaka  as  coming  on  the  stage  immediately  after  the  nandi. 

It  may  also  be  noted  here  that  this  same  passage,  i.  12®,  clearly  shoAvs 
that  the  female  roles  Avere  sometimes  played  by  female  actors. 

The  niindi  itself  is  of  interest  in  the  Karpuramanjari,  because  verses 
are  recited  after  it.  This  is  a curious  fact.  We  find  the  same  again  in 
the  Parvatiparinayanataka.  (Pischel,  l.c.,  p.  360.)  The  Karpuramanjari, 
accordingly,  may  be  consulted  Avith  j)rofit  by  the  student  of  the  general 
history  of  the  Indian  drama  ; and  it  is  not  unlikely  that  the  Sattaka  has 
on  this  point  preserved  traces  of  a more  ancient  stage  of  development  in 
this  branch  of  literature. 

6.  Other  Poets  mentioned  by  Raja^ekhara. 

Several  Other  Poets  are  occasionally  mentioned  in  the  Writings  of 
Raja^ekhara.  — Many  of  the  memorial  verses  Avhich  occur  in  the  anthol- 
ogies, and  are  ascribed  to  him,  Avere  most  probabl}'-  not  Avritten  by  our 
poet.  Some  of  them  are,  according  to  the  Ilariharavali,  taken  from  the 
“ Bhojaprabandha  of  RiijaQekhara.”  It  is,  accordingly,  probable  that  they 
are  extracts  from  the  Prabandliakoga  of  the  younger  Rajagekliara,  Avhich 
was  Avritten  in  1347.  hlost  of  those  verses  are  collected  in  alphabetical 


7.  Mentions  of  Jiajafekhara  in  the  Literature.  197 

arrangement,  after  the  name  of  the  poets  mentioned,  in  the  introduction 
to  the  edition  of  tlie  Karpuramanjari  in  the  Kavyamrda.  In  this  place 
I can  only  take  notice  of  the  poets  alluded  to  in  Rajagekhara’s  jdays. 

Ilariuddha,  Nandiuddha,  Pottisa,  and  Hala  are  mentioned  as  poets  at 
Karp.  i.  20™.  The  Tanjore  mss.  of  this  passage,  liowever,  have,  instead, 
the  names  Ilaribamhasiddhi  (?),  Oddisa,  Pfilittaa,  Campaariia,  and  jNIalla- 
sehara.  With  reference  to  these  names,  see  Pischel,  Gdttingische  Gelehrte 
Anzeigen,  1891,  p.  3G5. 

Aparajita  is  mentioned  at  Karp.  i.  8’,  as  a poet  contemporary  with 
Kajagekhara,  and  as  speaking  in  terms  of  highest  praise  of  the  merits  and 
achievements  of  Kiijagekhara.  In  the  Tanjore  mss.,  Aparajita  bears  the 
surname  Babbararaa.  He  is  said  to  be  the  author  of  a Mrgankalekhakatha. 
This  work  is  not  otherwise  known,  but  was  probably  a composition 
founded  on  a tale  like  that  of  Kathasaritsagara  G5.  221  ff.  Stanzas  by 
Bhattaparajita  occur  as  no.  1024  of  the  Subhiisitavali  (see  also  the  Intro- 
duction thereto,  p.  108)  and  in  the  Padyavali. 

^amkaravarman  or  Krsna^aiiikaragarman  was  another  contemporary 
poet.  His  name  is  mentioned  in  the  first  form  at  Balar.  i.  IG^;  and  in  the 
second  at  Yiddh.  i.  Gh  He  is  called  sabhya  in  the  Billaramayana,  and 
gosthigaristha  in  the  Viddhagalabhahjika;  but  he  is  not  otherwise  known. 
A ^amkaravarman  occurs  among  the  poets  of  the  Suktimuktavali. 

Daivajfia  is  mentioned  at  Bfdar.  i.  15‘  and  Btllabh.  i.  llh  This  may 
be  a proper  name  and  refer  to  some  contemporary  poet.  Or  it  may  be  a 
simple  appellative,  to  be  rendered  by  ‘fortune-teller  ’ (so  Fleet,  p.  17G). 

7.  Mentions  of  Raja^ekhara  in  the  Literature. 

By  Vasukalpa,  Abhinanda,  and  Somadeva.  — According  to  Aufrecht  in 
the  Catalogus  catalogorum,  p.  502,  Rajagekhara  is  mentioned  in  the 
Suktimuktavali  as  a contemporary  poet  by  Vasukalpa  and  Abhinanda. 
AVe  do  not  know  anything  about  V asukalpa,  but  we  have  two  poets  named 
Abhinanda.  The  one  is  known  as  the  author  of  a kavya,  the  Riimacarita, 
and  was  the  son  of  ^atananda.  The  other  was  called  Gaudabhinanda,  and 
was  a son  of  Jayanta  ATttikara.  His  great-great-grandfather  lived  under 
king  Muktapida  Lalitaditya  of  Kashmir,  whose  accession,  according  to 
Biihler,  cannot  have  taken  place  before  724.  Gaudabhinanda  must  there- 
fore have  lived  about  the  middle  of  the  ninth  century.  He  is  known  as 
the  author  of  the  Kadambarikathasara  and  of  the  Yogavasisthasara. 
Biihler,  Indian  Antiquary,  ii.  102  ff.,  thought  the  two  Abhinandas  to  be 
one  and  the  same.  On  that  point,  cp.  Durgaprasada  and  Paraba,  Kavya- 
mala.  Part  ii.  50.  Abhinanda  is  also  quoted,  Suvrttatilaka  iii.  16,  29. 


198 


Rajafelchara's  Life  and  Writings. 


Raja9ekhara’s  name  is  further  mentioned  in  Somadeva’s  Yagastilaka- 
campu.  According  to  the  colophon,  this  work  was  written  gaka  882  = 
A.D.  960.  As  mentioned  above,  we  are  told  in  the  third  agvasa  that 
Raja9ekhara  occasionally  pays  honor  to  the  religion  of  the  Jains.  As  far 
as  I can  see,  these  words  cannot  apply  to  the  known  works  of  the  poet. 

In  the  Da^arupa  and  the  Sarasvati-kanthabharana.  — The  Da§arupa 
quotes  Karp.  i.  23  (hi.  14  = p.  117  in  Hall’s  edition),  Viddh.  i.  31  (iv.  50 
= p.  182),  and  Balar.  iv.  60  (ii.  2 = p.  62).  The  last  passage  is  said  to 
be  taken  from  the  Hanumannataka  — see  Jivananda’s  ed.,  ii.  14. 

From  the  Sarasvati-kanthabharana  (ed.  by  Anundoram  Borooah, 
Calcutta,  1883),  I have  noted  the  following  quotations:  Balar.  i.  42 

(p.  224);  Balar.  hi.  25  = Viddh.  iii.  27=  Bfilabh.  i.  31  (p.  214);  Balar. 
V.  8 = Viddh.  iii.  2 (p.  315);  Balar.  vi.  19  (p.  81);  Balar.  vi.  34  (p.  26); 
Karp.  i.  1 (p.  138);  Karp.  i.  19  (p.  348);  Karp.  i.  25  (p.  348);  Karp.  ii. 
11  (p.  108);  Karp.  ii.  42  (p.  194);  Viddh.  i.  3 (p.  149);  Viddh.  i.  8 = 
Balabh.  i.  9 (p.  67) ; Viddh.  i.  14  = Balar.  ii.  17  (p.  215)  ; Viddh.  i.  15 
(p.  179) ; Viddh.  i.  19  (p.  367) ; Viddh.  i.  20  (p.  72) ; Viddli.  i.  31  (p.  223) ; 
Viddh.  iii.  5 (p.  104  and  214);  Viddh.  iii.  14  (p.  72).  Cp.  Colonel  G. 
A.  Jacob,  Journal  of  the  Royal  Asiatic  Society,  1897,  p.  304  ff. 

In  Works  of  Ksemendra.  — Ksemendra,  also,  in  several  of  his  works 
gives  references  from  Rajagekhara’s  plays.  In  the  Aucityavicaracarca, 
we  find  Balar.  i.  39  (v.  13);  ii.  20  (v.  20);  iv.  1 (v.  36);  v.  11  (v.  14); 
X.  41  (v.  12);  Balabh.  ii.  11  (v.  12);  Karp.  i.  18  (v.  18);  and  likewise 
the  following  stanzas  which  I cannot  trace:  citacakraih  candrah  (v.  15); 
strinam  madhye  (v.  16);  Karnatidaganaiikitah  (v.  27).  In  the  Kavikan- 
thabharana  only  one  stanza  by  Rajagekhara  is  quoted  (nakhadalitahari- 
dragranthigaure,  5.  1),  and  this  one  is  not  from  his  known  works.  In  the 
Suvrttatilaka,  iii.  35,  Raja§ekhara  is  praised  for  his  ability  in  the  ^ardula- 
vikridita  metre;  and  from  his  works  the  following  two  passages  are  given, 
namely,  Viddh.  i.  30  (at  ii.  23)  and  Balar.  i.  63  (at  ii.  41). 

In  the  Kavya-praka^a,  Prakrta-pingala,  etc.  — The  Kavya-prakaga  also 
contains  a number  of  citations  from  Rajagekhai’a.  Thus  we  find  there 
Karp.  i.  19,  20;  ii.  4,  9;  Viddh.  i.  2;  etc.  (cp.  Jacob,  l.c.,  1898,  pp.  294, 
303,  305,  313).  Further  quotations  from  Rajagekhara,  and  mentions  of 
him,  are  found  in  the  Prakrtapingala  (Karp.  i.  4,  20,  22,  23,  26;  ii.  5); 
Ganaratnamahodadhi  (see  Pischel,  p.  1223) ; Hcmacandra’s  Prfikrit  gram- 
mar (see  Pischel,  l.c.);  Mankha’s  (Irikanthacarita  (xxv.  74);  Abhinava- 
gupta  (see  Jacob,  l.c.,  1897,  p.  297);  Ruyyaka  (see  Jacob,  l.c.,  1897, 


8.  Itdjafekhara  !f  Prakrit. 


199 


p.  307);  and  in  later  works,  such  as  the  Kuvalayananda,  the  Sahitya- 
darpana,  and  Mfirkandeya's  Pnikrit  grannnar  ; also  in  Kfdeyakutuhala. 

A special  interest  has  been  attached  to  the  quotation  in  Ksirasvamin’s 
commentary  on  Amara  i.  8^  where,  in  speaking  of  the  form  gonasa,  he 
quotes  Viddh.  i.  3 to  show  that  the  form  gonasa  also  is  used  in  the  same 
sense.  Ksirasvamin  furtlier  quotes  Viddh.  i.  11  to  show  that  taraka  is 
neuter  as  well  as  feminine.  Cp.  Apte,  p.  0.  Peterson  identified  the 
commentator  Ksirasvamin  with  KsTra,  who  is  mentioned,  Rajatar.  iv.  489, 
as  the  tutor  of  king  Jayfipida;  and  thus  he  came  to  the  conclusion  that 
Rajagekhara  was  much  older  than  we  now  know  him  to  be.  Aufrecht  on 
the  other  hand  had  already  stated  (Zl)MG.  28.  104)  that  Ksirasvamin 
must  have  lived  in  the  eleventh  century,  since  he  quotes  Bhoja  and  is  him- 
self quoted  by  Vardhamana. 

8.  Rajagekhara’s  Prakrit. 

llaja^ekhara  was,  to  use  Apte’s  words,  “ a poet  of  great  learning  and 
much  information.”  The  poet  himself  seems  to  be  very  proud  of  his 
linguistic  skill,  as  he  directly  calls  himself  sarvabhasilvicaksana  (Bfilar. 
i.  10^)  or  savvabhasacadura  (Karp.  i.  7^).  Bfdar.  i.  11,  he  mentions  the 
different  languages  used  in  literary  compositions  : Sanskrit,  Prakrit,  Apa- 
bhranga,  and  Bhutabhasil.  As  far  as  we  know,  he  himself  wrote  only  in 
Sanskrit  and  Prakrit.  It  would  be  out  of  place  here  to  discuss  his  knowl- 
edge of  Sanskrit.  It  must  suffice  to  state  that  he  shows  a great  profi- 
ciency in  that  language.  I must  here  be  contented  to  examine  his  Prakrit. 
The  Prakrits  of  the  plays,  it  must  be  remembered,  were  no  really  spoken 
vernaculars ; but  rather,  essentially  literary  fictions  founded  on  the  ver- 
naculars. They  were  perpetually  influenced,  not  only  by  the  Sanskrit, 
but  also  by  the  spoken  languages.  i\Iost  of  the  so-called  degi-words  must 
be  derived  from  this  last  source.  Cp.  S.  P.  Pandit’s  note  to  Dhruva’s 
article  on  the  Rise  of  the  Drama,  Transactions  of  the  Ninth  International 
Congress  of  Orientalists,  i.  313. 

Cauraseni  and  Maharastri.  — These  are  the  only  Prakrit  dialects  which 
occur  in  the  writings  of  Raja§ekhara.  Herein,  therefore,  he  has  not 
evinced  a breadth  of  linguistic  knowledge  comparable  with  that  of  the 
author  of  the  Mrcchakatika. 

[Addition  by  the  General  Editor.  — In  order  that  this  volume  may  be 
of  service  to  students  of  Prakrit  in  America,  to  whom,  for  the  most  part, 
no  help  from  a teacher  and  no  elementary  books  will  be  accessible,  I am 
constrained  to  make  the  following  Addition.  For  a good  general  account 


200 


Rajagelchara's  Life  and  Writings. 


of  Prakrit,  see  Jacobi’s  article,  “Prakrit  Languages,”  in  Johnson’s  Uni- 
versal Cyclopaedia. 

The  ^auraseni  is  used  as  the  conversational  dialect,  that  is,  in  the 
prose  passages ; while  the  Maharastri  is  regularly  used  in  the  stanzas. 
Upon  this  point  the  beginner  should  consult  Jacobi,  Introduction,  §§  9, 10. 
The  chief  distinctive  peculiarities  of  the  ^auraseni  are  succinctly  stated 
by  Jacobi,  pages  LXX-LXXII.  These  the  learner  should  study.  I am 
convinced  that  the  best  basis  for  a clear  understanding  of  the  differences 
between  the  two  dialects  is  afforded  by  some  concrete  examples.  I have 
therefore  thought  it  worth  while  to  devote  a little  space  to  a collection  of 
some  of  the  doublets  which  actually  occur  in  this  play.  In  the  first  col- 
umn is  given  the  Sanskrit  form ; in  the  second,  its  ^auraseni  counterpart ; 
and  in  the  third,  the  Maharastri  form. 


Cauraseni-Maharastri  Doublets  used  in  this  Play. 


Sanskrit. 

Qaurasenl. 

(.Prose.) 

Maharastri. 

(Verse.) 

Sanskrit. 

Cauraseni. 

(Prose.) 

Maharastri. 

(Verse.) 

atha 

adba 

aba 

stbita 

thida 

thia 

tatha 

tadha 

tabs 

stbapita 

thavida 

thSlvia 

yatha 

jadha 

jaha 

kalita 

kalida 

kalia 

kathara 

kadhaib 

kabam 

kvathita 

kadbida 

kaclhia 

iha 

idba 

iba 

gbatita 

ghadida 

ghaqlia 

tatas 

tado 

tao 

dayita 

daida 

daia 

etad 

edam 

earn 

pulikbita 

puhkhida 

punkhia 

bbu.sita 

bhusida 

vi-husia 

eti 

edi 

ei 

bbrta 

bbarida 

bharia 

janati 

janadi 

3 anal 

ni-vegita 

ni-vesida 

ni-vesia 

dadatu 

dedu 

deu 

ava-tirna 

odinna 

ava-inna 

bhavati,  -tu 

bbodi,  -du 

hoi,  hou 

adbbuta 

acc-abbhuda 

abbhua 

bhavisyati 

bbavissadi 

hohii 

1 abb  ate 

labadi 

lahai 

prasrti 

pasadi 

pasai 

vartate 

vattadi 

vattai 

prabbrti 

pahudi 

pahui 

-vartatam 

pavattadu 

paattau 

prakrta 

panda 

paua 

tisthati 

cittbadi 

thai 

sainskrta 

sakkada 

sakkaa 

barati 

baradi 

barai 

manoratba 

manoradha 

manoraha 

inarakata 

maragada 

maragaa 

katbyatam 

kadbiadii 

kabijjau 

mitbuna 

midbuna 

mihuna 

kriyatam 

kariadu 

kijjau 

ratna 

radana 

raana 

dr^yate 

disadi 

disai 

rati 

radi 

rai 

bbanyate 

bbaniadi 

bhannai 

riti 

ridi 

rii 

lata 

ladfl 

la& 

krta 

kida 

kaa 

vata 

vada 

vaa 

gata 

gada 

gaa 

5ata 

sad  a 

saa 

jata 

jada 

jaa 

sarasvati 

sarassadi 

sarassai 

jita 

jida 

jia 

sarit 

sura-sarida 

sari& 

bita 

bida 

bia 

inaninatba 

niammadha 

vammaha 

a-nita 

a-nida 

a-nia 

divasa 

divasa 

diaha 

8.  Itiljagekhara  s Prakrit. 


201 


These  forms  can  all  be  easily  found  in  the  Glossarial  Index : and  from 
the  Index  it  appears  at  a glance  which  of  the  citations  are  prose  and  which 
are  poetry,  the  exponential  part  of  tlie  citation  being  a number  for  the 
prose  and  a letter  for  the  verse.  By  the  help  of  this  table  it  will  be  easy 
to  form  a clear  idea  of  the  extent  to  which  the  manuscripts,  as  we  have 
them,  conform  to  the  prescriptions  of  the  native  grammarians  or  disregard 

them.]  [End  of  the  Addition.] 

Rare  and  Provincial  Words.  — The  most  striking  feature  of  KfijaQe- 
khara’s  Prakrits  is  his  abundant  use  of  rare  and  provincial  words.  We 
give  some  instances  from  the  Karj)uramahjarl : 


ubbimbira 

cahgima- 

taralti 

bhasala 

bakkara 

olaggavia 

catti- 

tasara 

bhutthallai 

vacchoma 

olla 

campia 

tiiuisa 

bhulla 

vacchomi 

kaukelli 

calli 

pakkhaujja 

maratta 

varilla 

kandariuna 

chailla 

padisiddhi 

maradhi 

vindurilla 

kandotta 

chollai 

palittia 

mahalla 

sahulia 

kodda 

tapparakanna 

potta 

mahila 

sippi 

khadakkia 

tikkida 

baullia 

rificholT 

sihina 

khalakhanda 

tentakarala 

buddana 

rosania 

hakkarai 

galibailla 

thakkura 

bola 

langima- 

etc. 

canga 

4hilla 

bolei 

latthaa 

cahgattana 

niei 

bhamaratenta 

lumbi 

In  RajaQekhara’s  other  works,  also,  many  such  words  occur.  Most  of  them 
are  explained  in  the  Prakrit  grammars  and  lexicons  ; some  of  them  have 
equivalents  only  in  modern  vernaculars. 

[The  student  who  uses  diligently  the  smaller  St.  Petersburg  Lexicon 
in  the  reading  of  this  play  cannot  fail  to  be  struck  by  the  frequency  Avith 
which  the  writings  of  Rajagekhara,  notably  the  Balar.,  have  furnished  to 
Bohtlingk  his  first  authentication  of  many  words.  The  starred  kala- 
ksarika  is  supported  by  i.  18h  The  word  dhati  (cp.  ii.  46)  is  one  of  four 
synonyms  for  ‘sudden  attack’  (prapata,  abhyavaskanda,  dhati,  abhya- 
sadana,  see  Hemachandra,  800),  for  not  one  of  which,  in  this  sense,  had  a 
quotation  been  liitherto  adduced,  save  a single  one  from  Sayana  (BR.  v. 
1524).  — C.  R.  L.] 

Marathicisms.  — Marathi  words  are  used  on  a large  scale  by  Rajage- 
khara,  according  to  Narayana  Dikshita  and  Apte.  And  indeed,  on  the 
whole,  our  poet  seems  to  be  largely  indebted  to  the  vernaculars.  Forms 
such  as  kandariuna,  catti-,  tasara,  pakkhaujja,  etc.,  are  known  only  from 

1 This  word  is  rather  dubious ; but  as  the  various  readings  all  seem  to  be  glosses,  I was 
obliged  to  adopt  it. 


202 


Rdjagekhara' s Life  and  Writings. 


modern  dialects,  and  a form  like  dliilla  represents  a more  advanced  stage 
of  phonetic  development  than  the  literary  Prakrits  in  general.  Compare 
Pischel  on  Hemacandra  i.  89.  I cannot  here  enter  into  the  question 
concerning  Rajagekhara’s  relation  to  the  spoken  vernaculars,  from  want  of 
sufficient  materials. 

The  Poet  sometimes  confused  his  Two  Dialects.  — I must  be  content 
to  touch  upon  the  following  question  : Was  Rajagekhara  able  to  dis- 
tinguish correctly  the  two  Prakrit  dialects  Avhich  he  used  in  his  plays  ? 
The  question  is  difficult  on  account  of  the  miserable  condition  of  the  mss. 
The  Indian  editions  cannot  be  trusted  ; and  the  Prakrit  passages  in  the 
critically  edited  Balabharata  are  not  extensive  enough  to  be  made  the 
basis  of  the  inquiry.  Moreover,  a mere  glance  at  the  various  readings 
suffices  to  show  that,  in  most  instances,  the  text  has  been  restored  con- 
jecturally. 

There  remains  the  Karpuramanjari.  The  mss.  of  this  work  are  by  no 
means  correct  nor  consistent  in  their  readings.  Words  such  as  ratna, 
sarasvati,  iha,  manoratha,  mithuna,  etc.,  are  constantly  written  raana, 
sarassai,  iha,  manoraha,  mihuna,  in  the  prose  as  well  as  in  the  verses. 
And  at  i.  20^^  the  form  raana  in  tlie  (^iiuraseni  is  also  supported  by 
Krsnasunu,  who  gives  the  two  translations  ratna  and  racana.  On  the 
other  hand,  in  all  mss.,  we  find  forms  like  idam  in  verses  (e.g.  iv.  2'*). 
But  generally  some  of  the  mss.  have  the  correct  form.  It  is  therefore 
necessary  to  examine  critically  the  practice  of  Rajagekhara,  and  to  test  his 
forms  upon  the  touchstone  of  the  native  grammarians  where  they  give 
distinct  rules  for  dialectic  usage. 

Raja^ekhara’s  Usage  tested  by  Markandeya’s  Prakrit  Grammar. — 
Markandeya,  in  his  Prakrtasarvasva,  gives  a fuller  description  of  the 
^auraseni  than  the  other  grammarians ; and  I shall  try  in  the  following 
paragraphs  to  show  how  some  of  his  rules  are  practised  by  Rajagekhara.  1 
quote  Markandeya  after  the  ms.  Wilson  158*  in  the  Bodleyana  (Aufrecht 
no.  412). ^ The  chapter  on  the  (yauraseni  begins  fob  51“  and  contains 
nine  prakaranas. 

In  the  fourth  prakarana  we  find  a sutra,  ksanaksirasadrksanaih  cchah 
na  syat,  ‘ cch  should  not  be  substituted  [for  ks]  in  ksana,  ksira,  sadrksa.’ 
In  accordance  with  this  rule  I have  adopted  the  reading  sarikkha  in  iv. 

■]^g30,  53,59 

According  to  a sutra  in  the  third  prakarana,  1 should  not  be  substituted 
for  y in  yasti  (yastyaih  lag  ca  na  syat).  But  at  Karp.  ii.  6“  and  iv.  19®^, 

^ It  is  a pity  that  this  ms.  is  insufficient  as  tried  to  procure  new  material  from  Southern 
the  basis  for  au  edition  of  the  text.  1 have  India  through  Professor  G.  Oppert,  but  in  vain. 


8.  Rdjafekhara  s Prakrit. 


203 


all  mss.  read  lattlil.  Cp.  Pischel  on  Ilemacandra  1.  247,  -where  several 
instances  of  lattlii  are  quoted  from  the  ^auraseiii.  It  is  not  without 
interest  that  all  these  quotations  are  taken  from  Kfijagekhara’s  writings. 

Mark.  vi.  has  the  sutra,  ata  uttarasya  ner  e syat  . . . idudhhyam 
uttarasya  ner  mini  va  syfit,  ‘ in  words  ending  in  -a,  -e  is  substituted  for  the 
afiix  of  the  locative  singular ; in  words  ending  in  -i  and  -u,  -mini  may  be 
substituted.’  But  in  the  Karpuranianjari  we  find  the  following  instances 
of  -mini  in  a-themes:  majjhammi  i.  8^  kiiharammi  iii.  20^. 

Another  sutra  in  the  same  prakarana  runs  thus:  do  nasah  | do  eva  syat 
. . . iid  atah  kvacid  | ato  iiaser  at  syiit  kvacit,  ‘ for  the  ablative  sing,  only  the 
affix  dc  is  substituted.  ...  In  words  ending  in  -a  sometimes  a is  substi- 
tuted.’ Accordingly  the  forms  ending  in  -hiiiito  ought  not  to  be  used  in 
the  ^fiurasenl.  Still  in  the  Karpuranianjari,  forms  occur  .such  as  pamara- 
hiiiito  i.  20®;  tumhahiiiito  ii.  29*^;  candrihiiiito  ii.  29*^  jalrdiimto  iii.  o‘®, 
tumharisrdiiiiito  iv.  2'“. 

In  the  nominative  sing.  masc.  of  the  pronoun  etad,  Markandeya 
forbids  the  use  of  the  form  esa  in  the  ^aurasenl:  na  esa  etadah  | suna 
etada  esa  na  syat.  This  rule  is  in  accordance  with  the  general  practice  in 
all  critical  editions.  But  at  Karp.  i.  4^®  and  ii.  27^  and  iv,  20^^  all  mss. 
read  esa,  instead  of  the  correct  eso. 

As  for  the  verbal  inflexion,  the  form  ghettuna  in  the  (^aurasenl,  i.  12’, 
is  of  interest  compared  with  the  regular  genhia,  iv.  ig**- 

Of  less  importance  is  the  use  of  the  dhiitvadega  inun  = jna  in  prose. 
Cp.  Pischel  on  Hemacandra  iv.  7,  etc. 

These  instances  point  to  the  conclusion  that  Rajagekhara’s  linguistic 
skill  was  not  so  remarkable  as  he  likes  to  tell  us.  For  some  important 
questions  in  Prakrit  phonology  and  inflexion,  his  writings  are  of  no 
importance.  I shall  only  mention  two  cases. 

The  question  whether  we  have  to  assume  a cerebral  1 for  the  Prakrits 
is  as  dubious  as  before.  The  South  Indian  mss.  of  the  Karpuramanjari 
always  have  cerebral  1,  the  others  generally  1. 

Nor  is  the  use  of  the  Anuniisika  elucidated  by  these  manuscripts.  The 
very  probable  supposition  that  in  the  nom.  plur.  neutr.  and  instr.  plur. 
the  Anunasika  must  be  used  when  the  final  syllable  is  short,  is  neither 
strengthened  nor  weakened  by  the  mss.  Most  of  them  write  the  Anu- 
svara  or  nothing.  Only  R sometimes  uses  the  Anunasika,  but  very  irreg- 
ularly, to  denote  a long  as  well  as  a short  syllable,  and  U in  one  place 
(iii.  16)  has  the  Anunasika  correctly. 

After  all  we  must  therefore  state  that  Rajagekhara  is  more  important 
for  our  knowledge  of  the  Prakrit  lexicography  than  of  the  phonology  and 
inflexion. 


204 


RajageTchara' s Life  and  Writings. 


Possible  Inference  as  to  Obsolescence  of  Said  Dialects.  — Finally,  from  the 
fact  that  Rajagekhara,  “ who  knew  all  languages  ” (i.  7*),  did  not  correctly 
distinguish  the  different  Prakrits,  we  may  infer  that  the  living  knowledge 
of  those  dialects  was,  at  that  time,  considerably  diminished.  This  suppo- 
sition is  not  disproved  by  the  fact  that  Somadeva,  the  author  of  the 
Lalitavigraharajanataka  (Kielhorn,  Indian  Antiquary,  xx.  201  ff. ; Got- 
tinger  Nachrichten,  1893,  562)  writes  a Prakrit  which  is  in  close  accord- 
ance with  the  rules  of  Hemacandra.  Heraacandra’s  grammar  is  dedicated 
to  king  Jayasimha  of  Anhilvad  (1094-1143),  and  is  therefore  older  than  the 
Lalitavigraharajanataka,  which  was  written  in  Stlmbhar,  1153.  The  late 
Dr.  Biihler,  some  years  ago,  drew  my  attention  to  the  close  connection 
between  the  courts  of  Anhilvad  and  Sambhar.  (Cp.  also  Gazetteer  of  the 
Bombay  Presidency,  Vol.  i..  Part  i.,  179  ff.)  And  it  is  quite  probable 
that  Jayasimha  sent  copies  of  Hemacandra’s  grammar  to  Sambhar.  If 
such  is  the  case,  the  fact  would  sufficiently  account  for  the  correct  Prakrit 
in  Somadeva’s  work. 

9.  RajaQekhara’s  Literary  Characteristics. 

PischePs  Estimate  of  the  Poet.  — Pischel  has  given  a brief  statement, 
p.  1227  f.,  which  it  may  be  well  to  reprint : RajaQekhara  war  ein  Meister 
des  Wortes  und  seine  Dramen  sind  iiberaus  wichtig  fiir  die  Kenntnis  des 
Sanskrit  und  noch  mehr  des  Prakrit.  Seine  Verse  sind  elegant  und  fliess- 
end  und  selbst  in  dem  entsetzlich  langweiligen  Bfilaramayana  wird  man 
inanche  Scene  wegen  des  Wohllauts  der  Verse,  wegen  der  Sprichworter 
und  der  Anspielungen  auf  Sitten  und  Gebriiuche  nicht  ohne  Interesse 
und  Genuss  lesen.  Aber  als  Dramatiker  steht  Rajagekhara  nicht  hoch. 
Im  Balaramayana  erweist  er  sich  als  starken  Nachahmer^  des  Kalidasa 
und  Bhavabhuti,  in  der  Viddha^alabhanjika  und  der  Karpuramanjari  als 
Nachahmer  des  Dichters  der  unter  (!!riharsa’s  Namen  gehenden  Stiicke, 
ohne  dessen  Witz  zu  erreichen.  Nur  im  2.  und  3.  Akte  der  Viddh. 
sind  zwei  launige  Scenen  eingelegt,  deren  Grundziige  man  aber  unschwer 
in  der  ersten  Scene  des  3.  Aktes  des  Nagananda  erkennt.  Fine  unglaub- 
liche  Geschmacklosigkeit  ist  die  Scene  im  5.  Akt  des  Bfdar.  (p.  119  flf.),  wo 
die  kiinstliche  Sita  und  Sindurika  mit  den  Drosseln  im  Munde,  die  San- 
skrit und  Prakrit  sprechen,  auftreten. 

Apte  also  discusses  our  poet’s  literary  characteristics  at  length,  pages 
41-44.  [The  poet’s  works  oiight,  as  I tliink,  to  be  translated  and  inter- 

1 A systematic  study  of  our  poet’s  writ-  be,  I am  persuaded,  a fruitful  one.  The 

ings,  with  a view  to  determine  the  extent  to  a^oka  scene  of  our  present  play  recalls  that 

which  he  imitated  his  predecessors,  would  of  the  3.  act  of  Malavika. — C.  K.  L. 


9.  Rajafekliara's  Literary  Characteristics, 


205 


pretecl  by  some  Western  scholar  before  a judgment  is  passed  upon  them 
which  the  Occident  may  fairly  accept.  See  my  notes  to  ii.  30,  31,  32, 
Native  judgment  sometimes  goes  too  far  in  condemnation  ; and  it  often 
goes  too  far  in  praise.  Of  the  latter  error,  the  following  stanza  (attrib- 
uted to  a certain  “highly  cultured  (^ariikaravarman,”  at  Balar.  i.  17  = 
Viddli.  i.  7)  is  an  example  : 

patuih  <;rotrarasayanarii,  racayituiii  vacah  sataih  sammafa, 
vyutpattim  paramam  avaptum,  avadhiiii  labdhurii  rasasrotasah,  | 
bhokturii  svadu  phalaih  ca  jivitataror,  yady  asti  te  kautukaih, 
tad  bhratah  <,Tnu  Raja9ekharakaveh  suktih  sudhasyandiiiih|| — C.R.  L.] 

The  Poet’s  Skill  in  Metres.  — Rajagekhara’s  masterly  command  of  the 
more  elaborate  metres  is  one  of  his  most  notable  characteristics.  He 
especially  excelled  in  Sragdharii  and  (as  has  indeed  been  pointed  out  by 
the  Indian  critic,  Ksemendra,  p.  198:  cp.  p.  209,  where  the  metres  of  the 
present  play  are  given)  in  ^ardfdavikriclita.  Our  poet’s  metrical  skill 
is  by  no  means  restricted  to  Sanskrit ; in  Prakrit  versification  also  he 
has  shown  a really  remarkable  power.  His  predecessors  usually  contented 
themselves  with  an  occasional  Anustubh  or  Aryii  in  the  Prakrit  portions 
of  their  plays ; while  Raja^ekhara  (as  Apte  observes,  p.  44)  has  given  us 
nearly  forty  Prakrit  stanzas  in  the  highly  artificial  ^iirdiilavikridita  alone 
(they  number  33).  This  is  a matter  of  no  mean  importance  to  the  student 
of  Indian  metres.  See  below,  p.  206 ; and  cp.  Stenzler’s  metrical  notes, 
published  after  his  death,  ZDMG.  xliv.  1-82. 

Rime.  — Rime  forms  an  essential  element  of  versification  in  the  poetry 
of  the  modern  Indian  vernaculars,  and  also  in  Prakrit;  but  not  in  Sanskrit. 
Where  rime  occurs  in  Sanskrit  poetry,  as,  for  instance,  in  that  of  J ayadeva, 
we  may  assume  that  the  influence  of  the  vernacular  or  of  Prakrit  poetry 
has  been  at  work.  It  is  of  interest  to  note  that  Rajagekhara  makes 
occasional  use  of  rime.  Instances  are:  Viddh.  i.  4,  5;  iii.  8;  Karp,  iii,  29, 
30,  31.  [It  may  be  added  that  two  of  the  Magician’s  ribald  songs,  i.  22, 
23,  are  full  of  internal  rimes.  So  ii.  11. — Rime,  Antya-anuprdsa,  is  freely 
used,  for  example,  in  the  Gita-govinda  and  Moha-mudgara.  Cp.  Sahitya- 
darpana,  no.  637;  Ch.  P.  Brown,  Sanskrit  Prosody,  p.  21;  Pischel,  H., 
p.  208.  — C.  R.  L.] 

Proverbial  Expressions.  — Another  prominent  literary  characteristic  of 
RajaQekhara  is  his  fondness  for  the  use  of  proverbial  expressions.  [In  our 
present  play,  I have  noted  saws  or  proverbs  or  proverbial  expressions  at 
the  following  places : i.  18^®’^®’^®;  ii.  H;  iii.  6*;  iv.  18®’^;  20^;  and  perhaps 


206 


Rujagekhara's  Life  and  Writings. 


ii.  26*^,  29",  and  iv.  20^-(?)  ought  to  be  added.  Apte  has  collected  a good 
many  on  p.  45  of  his  essay. 

The  Indian  form  of  “ A bird  in  the  hand  is  worth  two  in  the  bush  ” 
may  be  mentioned,  since  our  poet  gives  it  at  Viddh.  i.  22^ : it  reads, 
“ Better  a partridge  to-day  than  a pea-hen  to-morrow,”  varaiir  takkalova- 
nada  tittirl  na  una  diahantarida  mori.  A far  older  form  of  the  saw  is 
given  by  Vatsyayana,  in  the  Kamasutra,  p.  19^,  ed.  Bombay,  who,  in  a 
most  interesting  carpe-diem-argument,  says,  “ Better  a dove  to-day  than  a 
peacock  to-morrow,”  varam  adya  kapotah  qvo  mayurat.  In  Manwaring’s 
Marathi  Proverbs,  no.  516,  we  find  “Why  do  you  want  a mirror  in  which 
to  see  your  bracelet  ? ” From  i.  18^®  it  appears  that  the  saying  is  at  least 
a thousand  years  old. 

Colonel  George  A.  Jacob  informs  me  that  he  has  a “ Handful  of 
Popular  Maxims  current  in  Sanskrit  Literature”  now  (Feb.,  1900)  in 
press  in  Bombay.  — C.  R.  L.] 


Raja^ekhara  Repeats  Himself.  — Cappeller  has  already  drawn  attention 
(p.  vi  f.)  to  the  fact  that  Rajagekhara  frequently  repeats  himself.  These 
repetitions  extend  sometimes  over  a whole  stanza,  sometimes  only  over  a 
part.  I give  the  following  list,  which  is  not  exhaustive: 


Balar.  i.  9 = 

Balar.  i.  10  = 
Balar.  i.  14  = 
Balar.  i.  16  = 
Balar.  i.  17  = 
Balar.  i.  18  = 
Billar.  i.  20  = 
Balar.  ii.  17  = 
Balar.  iii.  23  = 

Balar.  iii.  25  = 

Balar.  iii.  39  = 
Balar.  iii.  54  = 
Balar.  v.  5,  cp. 
Balar.  v.  8 = 

Balar.  v.  25  = 


Balabh.  i.  15. 
Balabh.  i.  5. 
Balabh.  i.  3. 
Balabh.  i.  12. 
Viddh.  i.  7. 
Balabh.  i.  11. 
Balabh.  i.  14. 
Viddh.  i.  14. 
Viddh.  ii.  5. 

( Balabh.  i.  31. 
\ Viddh.  iii.  27. 
Bfilabh.  i.  65. 
Balar.  vii.  68. 
Balar.  vii.  77. 
Viddh.  iii.  2. 
Viddh.  iv.  6,  cp. 
Karp.  iv.  2. 


Balar.  v.  39  = Viddh.  i.  24. 

Balar.  v.  73  = A'iddh.  iii.  15. 

Balar.  vi.  11  = Balar.  vi.  16. 

Balar.  vii.  31,  cp.  Biilar.  x.  43. 
Balar.  vii.  38  = Balar.  x.  44. 

Balar.  vii.  39  = Balar.  x.  46. 

Balar.  viii.  11,  cp.  Viddh.  iv.  20. 
Biilar.  x.  40  = Viddh.  iii.  11. 

Balar.  x.  58,  cp.  Balabh.  i.  19. 

Balabh.  i.  9 = Viddh.  i.  8. 

Balabh.  i.  22  = Viddh.  ii.  22. 

Bfilabh.  i.  27  = Viddh.  iii.  16. 

Balabh.  ii.  3,  cp.  Karp.  ii.  32. 
Balabh.  ii.  7 = Balabh.  ii.  13. 

Balabh.  ii.  15,  cp.  Viddh.  i.  17. 

Karp.  iii.  26  = Viddh.  iii.  12. 


10.  Rajagekhara’s  Favorite  Metres. 

1.  Cardulavikridita ; 2.  Vasantatilaka ; 3.  Cloka ; 4.  Sragdhara.  — 
In  the  Suvrttatilaka,  iii.  35,  Ksemendra  praises  llajaQekhara  for  his  ability 
in  the  (Jardulavikrldita  ; and  this  metre  is,  in  fact,  used  to  a great  extent 
in  his  works.  Thus  I have  noted  208  instances  from  the  Rrilaramayana, 
41  from  the  Rfdabharata,  36  from  the  Viddha^fdabhanjika,  and  24  from 


11.  Metres  of  the  Karpura-mafijari. 


207 


the  Karpriramiinjiirl.  The  second  place  in  frequency  must  be  attributed 
to  the  Vasantatilaka,  which  metre  occurs  159  times  in  the  Balar.,  25  in  the 
Balabh.,  11  in  the  Viddh.,  and  23  in  the  Karp.  The  tliird  place  in 
frequency  is  held  by  the  (yloka.  Of  this  there  are  126  instances  in  the 
Balar.,  25  in  the  Brdabh.,  and  3 in  the  Viddh.  To  the  Sragdhara  belongs 
the  fourth  place,  with  94  occurrences  in  the  Balar.,  12  in  the  Btllabh.,  10 
in  the  Viddh.,  and  11  in  the  Karp. 


5.  Arya;  then  Tristubh;  etc.,  etc.  — Of  other  metres,  the  following 
occur  more  or  less  frequently  : 


Xrya 

Upagiti 

Giti 

Tristubh 

Drutavilanibita 

Puspitagra 


Prthvi 

Praharsini 

Mandakranta 

Maliiil 

Rathoddhata 

Rucira 


Vahqastha 

Vasantamalika 

^alini 

QikharinI 

Svagata 

IlarinI 


To  these  must  be  added  some  very  free  Prakrit  metres,  such,  for  instance, 
as  Viddh.  i.  4,  5;  ii.  7;  iii.  8,  and  Karp.  iii.  29,  30.  The  two  stanzas  last 
mentioned  are  of  a form  not  known  from  other  sources.  The  stanza  iii. 
29  forms  the  half  of  a Miitrasamaka,  but  is  shown  by  the  rime  to  be 
intended  as  a complete  stanza.  Each  piida  consists  of  8 syllabic  instants. 
The  following  stanza,  iii.  30,  is  constructed  on  a similar  scheme,  each  pada 
containing  12  syllabic  instants. 


11.  Metres  of  the  Karpura-manjari. 

The  Metres  in  the  Order  of  Their  Frequency.  — In  the  Karpura- 
manjari,  the  metres,  listed  in  the  order  of  their  frequency,  and  each  with 
the  number  of  its  occurrences,  are  given  in  the  subjoined  table.  Under 


“Tristubh”  are  included  Indravajra, 


Xrya  ‘ 32 

Cardulavikrldita 24 

Vasantatilaka 23 

Tristubh 12 

Sragdhara 11 

Rathoddhata 9 

Prthvi 7 

MalinI 7 

Mandakranta 5 


^ Note  that,  in  the  amphibrach  which 
forms  the  sixth  foot  of  the  first  half  of  the 
Arya,  the  resolution  of  the  long  into  two 


Upendravajra,  and  Upajati. 

Svagata 4 

Giti 2 

Puspitagra 2 

U pagiti 1 

VariQastha 1 

^alini 1 

QikharinI 1 

iii.  29,  30  (above,  p.  207)  . . . . 2 

Sum 144 


shorts  is  permitted  if  a new  word  begin  with 
the  second  syllable  of  that  foot : e.g.  i.  3,  8, 
9 ; ii.  37,  48,  49. 


208 


Rdjagekhara' s Life  and  Writings. 


[Scene-groups.  — There  are  four  considerable  passages  in  this  play  in 
which  metres  of  the  same  kind  are,  so  to  say,  “bunched,”  and  in  which, 
accordingly,  the  uuity  of  thought  of  the  passage  is  reflected  in  the  unity 
of  its  metrical  form.  The  passages  are  : in  act  ii.,  stanzas  12—22,  eleven 
arya  stanzas,  forming  the  “Tiring-scene”;  again  in  act  ii.,  stanzas  33-40, 
eight  arya  stanzas,  forming  the  “ Swing-scene  ” ; then  in  act  iv.,  stanzas 
10-18,  nine  stanzas  of  hendecasyllabics,  being  six  tristubh  and  three  sva- 
gata  stanzas,  describing  the  Banyan  festival  scene.  Finally,  in  act  iii., 
the  passage  9-17,  consisting  of  nine  vasantatilaka  stanzas,  forms  the  bulk 
of  the  “lengthy  and  vapid  discussion  of  love.” 

It  is  worth  noting  that  a ^ardulavikridita  serves  as  the  initial  stanza 
of  the  Prologue,  of  act  i.  proper  (i.  13),  of  the  love-scene  in  the  first  act 
(i.  26),  of  act  ii.,  and  of  act  iii. ; see  the  Table,  p.  209.  The  same  metri- 
cal form  is  especially  employed  for  the  more  eleA^ated  passages  of  descrip- 
tion : for  example,  i.  16-18,  the  spring  ; i.  35,  the  evening ; iii.  25,  moon- 
rise  ; iii.  27,  the  garden  scene.  And  it  is  also  used  at  the  climax  of  some 
gravely  emotional  passages,  as  at  iv.  9.  — L.] 

The  Metres  in  the  Order  of  Their  Occurrence.  — The  following  table 
(p.  209)  gives  the  metres  of  the  Karpura-manjari  in  the  order  of  their 
occurrence  in  the  text.  See  also  p.  289,  note  to  iv.  19®^. 


11.  Metres  of  the  Karpura-maJljarl. 


209 


Metres  of  the  Karpura-manjari. 


Act  I. 

Act  II. 

Act  III. 

Act  IV. 

i.  1 

Qardulavikridita 

ii.  1 

j Qardulavikridita 

iii.  1 

Qardulavikridita 

iv.  1 

Arya 

i.  2 

ruspitSgr& 

ii.  2 

; Mandakrauta 

iii.  2 

Malini 

iv.  2 

Puspitagra 

i.  3 

Arya 

ii.  3 

] Qardulavikridita 

iii.  3 

Qardulavikridita 

iv.  3 

Prthvi 

i.  4 

1 Sragdhara 

ii.  4 

1 Vasantatilaka 

iii.  4 

Vafi9astha 

iv.  4 

Qardulavikridita 

i.  6 

Arya 

ii.  5 

44 

iii.  5 

Indravajra 

iv.  5 

Vasantatilaka 

i.  6 

' Giti 

ii.  6 

44 

iii.  6 

44 

iv.  6 

Prthvi 

i.  7 

Arya 

ii.  7 

1 Rathoddbata 

iii.  7 

Malini 

iv.  7 

Sragdhara 

i.  8 

(( 

ii.  8 

Qardulavikridita 

iii.  8 

Arya 

iv.  8 

Va.santatilaka 

i.  9 

U 

ii.  9 

1 Malini 

iii.  9 

Vasantatilaka 

iv.  9 

Qardulavikridita 

i.  10 

t( 

ii.  10 

Sragdhara 

iii.  10 

44 

iv.  10 

Indravajra 

i.  11 

Ratlioddbata 

ii.  11 

Qikharini 

iii.  11 

44 

iv.  11 

Upajati 

i.  12 

Svagata 

ii.  12 

Arya 

iii.  12 

44 

iv.  12 

44 

i.  13 

Qardulavikridita 

ii.  13 

44 

iii.  13 

44 

iv.  13 

44 

i.  14 

Vasantatilaka 

ii.  14 

44 

iii.  14 

44 

iv.  14 

Upendravajra 

i.  15 

Sragdhara 

ii.  15 

44 

iii.  15 

44 

iv.  15 

Upajati 

i.  16 

Qardulavikridita 

ii.  16 

44 

iii.  16 

44 

iv.  16 

Svagata 

i.  17 

4 4 

ii.  17 

44 

iii.  17 

44 

iv.  17 

44 

i.  18 

44 

ii.  18 

44 

iii.  18 

Malini 

iv.  18 

44 

i.  19 

Vasantatilaka 

ii.  19 

44 

iii.  19 

Sragdhara 

iv.  19 

Arya 

i.  20 

Qardulavikridita 

u.  20 

44 

iii.  20 

Prthvi 

iv.  20 

Malini 

i.  21 

Vasantatilaka 

ii.  21 

44 

iii.  21 

Rathoddbata 

iv.21 

Vasantatilaka 

i.  22 

Indravajra 

ii.  22 

44 

iii.  22 

Vasantatilaka 

iv.  22 

Qardulavikridita 

i.  23 

Qalini 

ii.23 

Mandakrauta 

iii.  23 

Rathoddbata 

iv.  23 

44 

i.24 

Vasautatilaka 

ii.  24 

Malini 

iii.  24 

“ 

iv.  24 

Giti 

i.  25 

44 

ii.25 

Upajati 

iii.  25 

Qardulavikridita 

i.  26 

Qardulavikridita 

ii.  26 

Vasantatilaka 

iii.  26 

Prthvi 

i.  27 

Vasantatilaka 

ii.  27 

Qardulavikridita 

iii.  27 

Qardulavikridila 

i.  28 

Upajati 

ii.  28 

Sragdhara 

iii.  28 

Sragdhara 

i.  29 

Qardulavikridita 

ii.  29 

Qardulavikridita 

iii.  29 

[See  p.  207] 

i.  30 

Mandakrauta 

ii.30 

Mandakrauta 

iii.  30 

44 

i.  31 

Upajati 

ii.  31 

Sragdhara 

iii.  31 

Rathoddbata 

i.  32 

Qardulavikridita 

ii.  32 

Prthvi 

iii.  32 

44 

i.  33 

Mandakrauta 

ii.  33 

Arya 

iii.  33 

44 

i.34 

Prthvi 

ii.  34 

44 

iii.  34 

44 

SUMMATIOS  OF 

i.  35 

Qardulavikridita 

ii.  35 

44 

Stanzas. 

i.  36 

Sragdhara 

ii.36 

44 

ii.  37 

44 

Act  i.  has  36 

ii.  38 

44 

44 

ii.  “ 50 

ii.  39 

44 

44 

iii.  “ 34 

ii.  40 

44 

44 

iv.  “ 24 

ii.  41 

Sragdhara 

Sum  144 

ii.  42 

Aiya 

ii.  43 

44 

ii.  44 

Malini 

ii.  45 

Upagiti 

ii.  46 

Qardulavikridita 

ii.  47 

Prthvi 

ii.48 

Arva 

ii.  49 

44 

ii.  50 

Sragdhara 

]^Alv‘T  IV 


TRANSLATION 


OF  THE 

KARPURA-MANJARI 


WITH 

AN  INTRODUCTION  AND  NOTES 


BY 

C.  R.  LANMAN 


Mulier  esl  hominis  confusio  ; 

Madame,  the  sentence  of  this  Latin  is  — 

Wominan  is  mannes  joye  and  al  his  blis. 

— CHArcER,  “The  Nonne  Preestes  Tale,”  344. 


1.  Geography  of  the  Play  in  General. 

Tlie  geography  of  the  play  in  general  and  the  geographical  allusions 
of  the  text  demand  some  notice.  The  action  of  the  play^  is  at  the  court 
of  King  Chandapala,  that  is,  in  his  palace  and  palace  gardens.  I do  not 
know  that  this  name  designates  an  historical  personage  ; hut  the  poet 
plainly  intended  that  we  should  imagijie  the  general  scene  of  the  play  to 
be  in  the  Deccan  (cp.  “ Here  in  the  Deccan,”  i.  25*,  34®).  Chandaprila 
addresses  his  queen  as  “■  daughter  of  the  [a]  sovereign  of  the  Deccan,” 
i.  12*.  And  the  fact  that  the  king  of  Kuntala  and  Chandaj)ala  are  repre- 
sented as  marrying  aunt  and  niece  (i.  34*)  would  lead  us  to  imagine 
Chandapfda’s  “ kingdom  in  the  Deccan  ” as  not  far  from  that  of  his  father- 
in-law  (which  is  undefined)  nor  from  that  of  Kuntala.  Moreover,  the 
allusions  2 of  i.  15  and  17  (cp.  20)  point  with  clearness  to  the  Deccan  or 
Southern  India  (cp.  i.  36,  note  3), 

Kuntala  seems  to  have  included  parts  of  the  region  that  is  drained  by 
the  upper  Kistna  and  the  Tungabhadra.^  It  covered  what  is  now  the 
southernmost  part  of  the  Bombay  Presidency  and  of  Haiderabad,  and  the 
northwest  corner  of  Madras,  with  part  of  Mysore^  — say  the  Districts  of 
North  Kanara,  of  Belgaum,  and  of  Bellary;  and  perhaps  it  reached  even 
farther  east.  The  inscription  of  Kurugode  ® names  as  capital  of  Kuntala 
the  town  of  Kurugode,  which  is  fourteen  miles  from  Bellary  town,  north 
and  west. 

Vidarbha  seems  to  have  reached  from  the  Kistna  north  nearly  to  the 
Narbada.  It  is  included  in  Maharastra.®  And  Kuntala  seems  also  to 
have  been  so  included.'^  This  may  throw  light  on  the  statement  of  the 
commentators  (Konow,  p.  160)  about  Vacchoraa  as  capital  of  Kuntala. 

La^  designated,  in  the  time  of  our  poet,  the  region  north  of  the  lower 
Narbada  and  east  of  the  Gulf  of  Cambay,  modern  Broach  or  Central  and 
Southern  Gujarat,  Ptolemy’s  XapiK-q.  See  Epigraphia  Indica,  i.  274,  iv. 


1 The  place  where  the  play  was  first  repre- 
sented or  brought  out,  may  have  been  the 
court  of  Nirbhara : see  i.  9 and  p.  217. 

2 The  allusions  to  Bengal  and  Assam  etc. 
(i.  142)  are  not  such  as  to  yield  data  for  geo- 
graphical inferences. 

* See  Duff,  Chronology  of  India,  under 
A.D.  973,  and  Borooah’s  Essay,  § 145. 

^ Including  the  once  important  Banavasi, 


Ptolemy’s  Bavaovacel ; cp.  Ind.  Ant.  xiii. 
367. 

* Colebrooke’s  Essays,  ii.  [272],  [273], 

® See  Borooah,  § 146-8 ; Balar.  x.  74. 

According  to  passages  in  Balar.,  which 
Borooah  (note  3)  does  not  specify.  According 
to  Da^akumaracharita,  viii.,  p.  59,  ed.  Peter- 
son, the  Lords  of  Vanavasin  and  of  Kuntala 
seem  to  have  been  vassals  of  Vidarbha. 


213 


214 


Introduction  to  the  Translation. 


246  ; azid  Borooah’s  Essay,  § 154.  The  statement  of  iv.  18^,  “ the  wed- 
ding is  set  for  here  and  today,  while  the  bride  is  in  the  country  of  Lata,” 
indicates  that  Chandapala’s  realm  was  not  Lata.^  Another  northern  place 
is  Kanauj,  mentioned  in  the  Jester’s  dream  (iii.  5^)  as  if  distant.  I 
imagine  Chandapala’s  realm  as  south  or  southeast  of  Kuntala. 

2.  Hindu  Seasons,  Months,  and  Asterisms. 

In  the  Prakrit  text  above,  and  in  the  sequel  also,  there  is  a considera- 
ble number  of  allusions  to  the  Hindu  seasons  and  months  and  asterisms. 
Convenient  tables  of  the  months,  etc.,  are  so  rare  in  this  country  that  I 
am  confident  that  the  American  student  will  welcome  the  ensuing  table. 


6EA80N 

MONTH 

TIME 

A8TBRISMS  IN  WHICH  FULL  MOON  MAY  OCCUR 

Vasanta 

Spring 

r Chaitra 
1 Vaigakha 

March-April 

April-May 

14,  Chitra ; 15,  Svati 

16,  Vi9akha ; 17,  Anuradha 

Grishma 

Summer 

f Jyaishtha 
1 Ashadha 

May-June 

June-July 

18,  Jyeshtha ; 19,  Mula 

20,  P.- Ashadha ; 21,  U. -Ashadha 

Varsha 

Bains 

f Qravana 
1 Bhadrapada 

July- August 
Aug. -Sept. 

23,  Qravana  ; 24,  Qravishtha, 

25,  Qata-bhishaj ; 26,  P.-Bh. ; 27,  U.-Bh. 

Qarad 

Autumn 

f Agvina 
1 Karttika 

Sept. -Oct. 
Oct.-Nov. 

28,  Revati ; 1,  A^vini ; 2,  Bharani 
3,  Krttika  ; 4,  Rohini 

Hemanta 

Winter 

/ Marga^irsha 
\ Pausha 

Nov.-Dee. 
Dec. -Jan. 

5,  Mrga-^irsha;  6,  Ardra 
7,  Punar-vasu ; 8,  Pushya 

gi?ira 

Cool  season 

/ Magha 
t Phalguna 

Jan. -Feb. 
Feb. -Mar. 

9,  Aglesha;  10,  Magha 
11,  P.-Phalguni ; 12,  U.-Ph. ; 13,  Ilasta 

Whitney’s  Suryasiddhanta,  Journal  of  American  Oriental  Society,  vi. 
414  and  468,  may  be  consulted ; also  his  essay  on  the  Lunar  Zodiac, 
Oriental  and  Linguistic  Studies,  i.  341  f.  For  the  older  division  into  three 
seasons.  Hot,  Wet,  and  Cold,  which  is  still  in  popular  use,  see  Bidder, 
Epigraphia  Indica,  ii.  262,  and  Manwaring’s  Marathi  Proverbs,  no.  1279. 
Older  month-names:  Whitney,  Journal,  vi.  414;  or  Sewell  and  Dikshita, 
Indian  Calendai',  p.  24.  Very  instructive  is  Part  X (c)  of  IManwaring. 

I abbreviate  Purva,  ‘former,’  by  P.;  Uttara,  ‘latter,’  by  U.;  Phalguni 
by  Ph. ; and  Bhadrapadti  by  Bh.  The  22d  asterism  is  Abhijit : see  note 
to  i.  20^^,  and  Whitney’s  Zodiac,  p.  409. 

z It  is  true  that  at  iv.  18^®  the  text  says,  as  this  is  in  palpable  conflict  with  iv.  IS*’* 

“ Here  (?  ettha)  in  the  Lata  country.”  But  it  may  be  ettha  = ‘ there.’ 


3.  Time-allusiomt  of  the  Plo;/  and  Time  of  the  Action. 


215 


3.  Time-allusions  of  the  Play  and  Time  of  the  Action. 

For  the  determination  of  the  time  of  the  action,  we  have  one  datum 
which  is  both  certain  and  precise,  that  of  the  Banyan  festival  (act  iv.). 
It  synchronizes  Avith  the  full  moon  of  Jyaistha.  — The  second  datum,  that 
of  the  Swing  festival  of  Gauri  (act  ii.),  if  1 have  identified  it  aright,  is  no 
less  certain  and  precise.  The  fourth  day  of  that  festival  falls  on  the  sixth 
lunar  day  of  the  bright  half  of  Chfiitra.  — The  third  datum  is  drawn  from 
the  allusions  to  the  beginning  of  spring  (act  i.).  These  are  entirely  cer- 
tain. Whether  Ave  may  take  them  as  intending  precision,  is  a question 
rather  of  common  sense  than  of  erudition.^  The  evidence  is  in  favor  of 
interpreting  them  precisely. 

The  action  of  the  play,  accordingly,  covers  a period  of  just  two  and 
one-half  lunations : that  is,  all  of  Chiiitra,  all  of  VriiQilkha,  and  the  light 
half  of  Jyaistha.  The  scene  of  the  play  being  in  the  south,  Ave  may  sup- 
pose the  lunar  months  to  be  reckoned  as  from  neAV  moon  to  neAV  moon,^ 
rather  than  as  from  full  to  full.®  — There  remains  act  iii.  Its  action 
takes  place  at  a full  moon : is  it  that  of  Chfiitra  or  of  Vaigakha? 

Act  I.  — The  initial  motif  of  the  play  proper  is  the  advent  of  spring. 
The  month  is  Chaitra,  i.  IT**,  18“';  the  frost  is  gone,  i.  14“;  the  Malabar 
Avinds,  from  the  southwest,  haA^e  set  in,  i.  lo**,  16’’(  20’’;  the  spring  has 
begun,  i.  12^  14%  18'\  Avith  all  its  beauties,  i.  16^ — The  act  ends  with 
eA^ening,  i.  35,  and  at  least  one  night  intervenes  betAveen  acts  i.  and  ii. 
And  since  the  time  of  act  ii.  is  the  sixth  of  the  bright  fortnight  of  Chaitra, 
the  latest  date  for  act  i.  is  the  fifth  of  that  fortnight. 

But  it  appears,  from  act  ii.  4,^  that  a considerable  number  of  da}’s 
must  have  elapsed  since  act  i.  During  that  time,  but  not  after  the  begin- 
ning of  act  ii.,®  King  and  Heroine  have  seen  each  other,  ii.  42*®’ and 
become  deeply  enamored.  We  can  hardly  make  the  interval  less  than 
five  days,  and  would  therefore  set  the  time  of  act  i.  on  the  first  of  the 
bright  fortnight  of  Chaitra.  The  duration  of  act  i.  is  part  of  one  day. 


1 There  is  great  discordance  hetween 
popular  usage  and  the  statements  of  the 
learned  bookmakers  of  India  in  regard  to 
seasonal  divisions : see  Biihler,  Epigraphia 
Indica,  ii.  262.  So  here  in  New  England, 
we  speak  of  one  of  our  characteristic  bluster- 
ing vernal  winds  as  “ a regular  March  wind,” 
even  if  it  be  a little  before  or  after  the  calen- 
dar month  of  March. 

* The  ama-anta  system.  In  this,  the 
bright  fortnight  (gukla),  or  fortnight  of  the 
Avaxing  moon,  comes  first,  and  then  the  dark 


fortnight  (krsna),  or  that  of  the  waning 
moon.  See  Ep.  Ind.,  i.  404 ; or  The  Indian 
Calendar,  p.  4.  Thus:  o. 

3 The  purnima-anta  system,  diminuendo- 
crescendo,  thus:  X. 

* So  too  from  ii.  8,  9.  Perhaps  also  from 
ii.  1*.  Certainly  not  from  i.  34^.  It  is  odd 
that  the  King  waits  five  days  to  propound  his 
question,  ii.  IP;  but  the  playwi'ight  needed 
it  as  introduction  to  his  tiring  scene. 

® In  the  Swing  scene,  although  the  King 
sees  the  Heroine,  she  does  not  see  him. 


216 


Introduction  to  the  Translation. 


Act  II.  — The  time  is  still  IMadhu,  ii.  or  Chaitra,  and  the  spring 
“is  very  gently  coming  on,”  ii.  The  nights  are  still  chilly,  ii.  41\ 
We  read  at  ii.  29^  “Today  is  the  fourth  day  of  the  Swing  festival.” 
The  allusions  to  the  worship  of  Gauri  that  accompanied  the  festival  (see 

ii.  6-^’^,  ii.  29®)  indicate  that  the  gduryd  dolotsava  is  intended  (see  note 
to  ii.  6-'*,  and  additional  note  thereto,  on  p.  289),  and  this  begins  on  the 
third  of  the  bright  half  of  Chaitra.  The  date  of  act  ii.  is  therefore  the 
sixth  of  waxing  Chaitra.  — The  act  lasts  part  of  one  day.  When  the 
Swing  scene  ends,  evening  is  near,  ii.  41®.  The  aQoka  scene  is  somewhat 
later  in  the  same  evening,  for  the  Heroine  has  in  the  meantime  been 
“ exquisitely  decorated,”  ii.  43‘. 

Act  III. — The  action  is  on  the  evening  of  the  night  of  a full  moon, 

iii.  25'*,  32®,  which  must  be  that  of  either  Chaitra  or  Vaigakha.  The 
allusions  to  punkahs  and  shower-baths,  iii.  20,  and  to  the  “ intense  heat  ” 
{ghana-ghamma.!  iii.  20®),  indicate  that  the  hot  weather  (IMarch  to  May, 
inclusive)  is  far  advanced.  I therefore  deem  the  latter  alternative  the 
more  probable  one,  and  place  the  action  of  act  iii.  at  the  full  moon  of 
Vaigakha.  This  date  allows  ample  time  for  the  Queen’s  jealousy  (cp. 
p.  247,  note  7,  with  p.  289,  note  to  ii.  41®)  to  drive  her  to  the  drastic 
measure  of  imprisoning  the  Heroine,  and  time  for  the  construction  of 
the  subterranean  passage  (p.  219).  And  it  still  falls  within  the  limits  of 
spring  (yasanta')  — cp.  the  next  paragraph. 

Act  IV.  — The  spring  (mahu-samaa)  has  now  gone,  iv.  7“*;  the  sum- 
mer {gimha,  iv.  1)  is  come,  iv.  4",  S'*,  O'*.  The  time  of  the  action  is  ex- 
plicitly defined,  iv.  9^®,  as  the  “ Banyan  festival.”  This  falls  on  the  day 
of  the  full  moon  of  Jyaistha,  iv.  9^®  note.  In  substantial  accordance 
herewith  is  the  allusion,  iv.  3“,  to  the  length  of  the  days,  which  reaches 
its  maximum  a little  later ; and  so  is  the  statement,  iv.  18”,  that  the 
image  of  Gauri  was  set  up  “ on  the  fourteenth  day  just  past,”  that  is,  the 
fourteenth  of  the  light  half  of  Jyaistha. — The  action  of  the  merry-making 
(p.  221,  scene  3)  runs  over  a part  of  the  day-time.  The  wedding  takes 
place  in  the  evening,  iv.  18'^. 


Synoptic  Table  op  the  Time  of  the  Action. 


Act  I. : beginning  of  spring,  first  of  Cliaitra,  bright  half [Say  March  15]. 

Interval  of  five  days. 

Act  II.:  fourth  day  of  Swing  festival  of  Gauri,  sixth  of  Chaitra,  ditto  . , [Say  March  20]. 

Interval  of  about  ten  days  + just  one  lunation. 

Act  III. : full  moon  of  Vaigakha [Say  May  1]. 

Interval  of  one  lunation. 

Act  IV. : Banyan  festival,  full  moon  of  Jyaistha [Say  June  1]. 


4.  Synoptic  Analysis  of  the  Play. 


217 


4.  Synoptic  Analysis  of  the  Play. 

The  purpose  of  this  synopsis  is  to  make  clear  1.  the  places  or  scenes 
of  the  action  in  detail,  and  2.  the  details  of  the  stage-business.  Since  the 
references  to  the  text  are  given  throughout,  it  will  also  serve  3.  as  a useful 
finding-table.  For  greater  convenience,  I have  divided  the  synopsis  into 
scenes,  guided  partly  by  the  entrances  and  exits  and  partly  by  the  places 
of  the  action,  but  without  special  reference  to  the  canons  of  the  native 
dramaturgy. 

Several  scenes  are  double  or  even  multiple  scenes  : that  is,  the  stage 
represents  simultaneously  the  scene  of  the  principal  action  and  also  the 
King  in  some  place  of  observation  or  concealment  near  by  (such  are  scenes 
4 and  7 of  act  ii. : cp.  note  to  iii.  34‘);  or  the  stage  is  imagined  to  repre- 
sent successively  (as  in  act  iii.,  .scene  2,  and  act  iv.,  scene  5)  several  places 
in  which  the  players  have  to  be,  during  the  course  of  that  scene.  In  the 
latter  case,  the  place  comes  to  the  actor  instead  of  the  actor’s  going  to 
the  place.  His  going,  however,  is  mimetically  indicated  by  a “stepping 
about.” 

By  “ palace  garden  ” or  “ palace,”  as  used  in  the  sequel,  is  meant  of 
course  the  palace  garden  or  palace  of  King  Chandapala. 

ProloCtUE,  I.  1 to  I.  12\ 

During  the  prologue,  the  stage  represents  the  play-house  (or  ndtya- 
fdld,  Levi,  p.  371)  of  the  King  for  whom  the  play  is  enacted.  The  first 
performance  may  have  been  for  King  Nibbhara,  i.  9,  11. 

Scene  1.  Enters  the  Director  (sidradhara)  and  recites  the  benediction,  i.  1-2 
[Then  exit.] 

Scene  2.  Enters  the  Stage-manager  (sthdpaka)  and  praises  Civa,  i.  3-4,  and 
describes  the  preparations  for  the  play,  i.  4*. 

Scene  3.  Enters  the  Assistant  (paripdr^ika)  of  the  Stage-manager,  i.  4'^ 
They  discuss  the  play,  the  author,  why  he  writes  in  Prakrit,  at 
whose  instance  the  piece  is  given,  and  the  gist  of  the  plot,  i.  4'^-12^. 
Exeunt. 

Act  I. 

Scene  1 (the  advent  of  spring) : the  palace  garden.  Enter  King  and  Queen, 
with  retinue,  i.  12®.  They  congratulate  each  other  on  the  arrival  of 
spring,  and  describe  the  season  in  stanzas,  i.  13-14. 

Behind  the  stage,  two  Bards  describe  the  beauties  of  spring,  i. 
15-16,  and  are  followed  in  the  same  strain  by  the  royal  pair,  i.  16®-18. 
Scene  2 (comic  intermezzo) ; place  and  actors  as  before.  Jester  and  Vichak- 
shana  quarrel,  i.  18'.  Eetorts,  sharp  and  coarse,  follow ; then  rival 


218 


Introduction  to  the  Translation. 


stanzas,  i.  19-20;  then  threats,  i.  20'^  General  laughter,  i.  20'’®. 
Exit  Jester,  i.  20^'. 

Scene  3 (the  tipsy  Magician):  place  and  actors  as  before.  Reenters  Jester,  i. 

21^,  announcing  the  Magician,  who  follows,  i.  21®,  tipsy,  singing  ribald 
songs.  He  offers  to  show  a specimen  of  his  powers  to  the  King,  i. 
25h  The  latter  suggests  that  he  produce  on  the  stage  a lovely  girl. 
The  wizard  sets  about  it,  i.  2o‘°.  Thereupon  — 

Scene  4 (love  scene) : place  and  actors  as  before.  Enters  the  Heroine,  i.  25”. 

Rapturous  stanzas  from  the  King,  i.  26-27.  She  gives  the  King  a 
coquettish  glance,  i.  28®.  He  is  deeply  enamored,  i.  29-34.  She  tells 
her  story,  i.  34*"®*.  The  Queen  asks  that  the  Heroine  may  remain  a 
fortnight,  i.  34®®,  and  conducts  her  to  the  gynseceum,  i.  34*®. 

Behind  the  stage,  two  Bards  in  descriptive  stanzas  announce  the 
evening,  i.  35-36,  and  the  King  goes  to  prayer. 

Act  II. 

Scene  1 (the  love-sick  King) : the  palace  garden.  Enter  King  and  Porteress, 
ii.  Oh  Enamored  stanzas,  ii.  1-6. 

Scene  2 (the  billet-doux)  : place  and  actors  as  before.  Enter  Jester  and  Vichak- 
shana,  ii.  6®.  They  discuss  briefly  the  King’s  condition,  ii.  6^’®,  un- 
heard by  him. 

They  address  the  King,  ii.  6’®.  It  transpires  that  Vichakshana 
bears  a love-letter,  ii.  6®®,  from  the  Heroine  to  the  King.  This  the 
King  reads,  ii.  8.  Stanzas  from  Vichakshana,  from  her  sister,  and 
from  the  Jester,  ii.  9-11. 

The  King  asks,  ii.  11®,  what  happened  to  the  Heroine  after  the 
Queen  conducted  her  (at  i.  34®®)  to  the  gynseceum.  Properly  the 
replies  form  no  new  scene;  but  they  have  such  dramatic  unity  that 
it  is  well  to  treat  them  as  a scene. 

Scene  3 (the  tiring  scene,  a duo  between  Vichakshana  and  King) : place  and 
actors  as  before.  Introductory  questions  and  answers,  ii.  11®^.  In 
eleven  half-stanzas,  ii.  12-22,  Vichakshana  describes  how  the  Hero- 
ine was  arrayed  and  adorned  in  the  gynseceum.  The  King  caps 
each  half-stanza  with  one  of  his  own,  in  which  he  interprets  the 
description  with  some  fanciful  conceit.  Exit  Vichakshana,  ii.  29®. 

It  now  transpires  that  she  and  the  Jester  have  arranged  that  the 
Heroine  shall  swing  in  a swing  set  up  before  the  idol  of  Parvatl,  and 
that  the  King  shall  have  an  opportunity  to  observe  her  from  an  arbor 
near  by,  ii.  29®"^  With  the  Jester,  the  King  “ makes  as  if  entering  ” 
the  Plantain  Arbor,  ii.  29“. 

Scene  4 (the  swing  scene) : the  palace  garden;  the  Heroine  in  the  swing;  King 
and  Jester  concealed  in  the  Plantain  Arbor.  The  King  pours  forth 
his  soul  in  rapturous  stanzas,  ii.  30-32. 


4.  Synoptia  Analysis  of  the  Play. 


219 


Then  follows,  in  eight  stanzas,  ii.  33-40,  the  Jester’s  description 
of  the  Heroine’s  swinging.  It  is  filled  with  pretty  conceits  and  forms 
a pendant  to  the  tiring  scene.  — The  Heroine  quits  the  swing,  ii.  40*. 
Scene  5 (serio-comic  intermezzo) : the  gardens.  The  King  at  the  Plantain 
Arbor  laments  her  departure  in  tragic  strains,  and  the  Jester  gives 
mocking  response,  ii.  40*— il.  Evening  approaches,  ii.  41®;  but 
night’s  coolness  avails  not  to  attemper  the  King’s  amorous  fever, 
ii.  41*. 

The  Jester  leaves  the  King  “alone”  on  the  Emerald  Seat,  ii.  41®, 
and  makes  as  if  leaving  the  stage  to  get  something  to  cool  him  off, 
ii.  41^  The  King  continues  his  amorous  plaint,  ii.  42. 

Scene  6 ( “ stage-traffick  ” ) : a part,  near  by,  of  the  gardens.  Keenters  Vichak- 
shana  with  refrigerants,  ii.  42®.  She  and  the  Jester,  ii.  43*,  arrange 
it  so  that  the  King  shall  witness  the  coming  aqoka  scene. 

The  King  is  imagined  to  secrete  himself  behind  a shrub,  ii.  43®. 
Scene  7 (the  aqoka  scene)  : the  garden.  Enters  the  Heroine,  ii.  43^  She  em- 
braces a young  amaranth,  looks  at  a tilaka,  and  touches  with  the  tip 
of  her  foot  an  aqoka  tree ; whereupon  all  three  burst  into  gorgeous 
bloom,  ii.  43“^7. 

King  and  Jester  discuss  the  matter,  ii.  47®-49*. 

Behind  the  scene  a Bard  describes  the  evening,  ii.  oO.  Exeunt  all. 

See  also  p.  289,  n.  2. 

Act  III. 

From  iii.  34*  we  infer  that,  between  the  last  act  and  this,  jealousy  has 
prompted  the  Queen  to  imprison  the  Heroine  in  some  room  in  the  Queen’s 
section  of  the  palace  ; and  that,  unknown  to  the  Queen,  a secret  subter- 
ranean passage  has  been  made  from  this  room  to  the  palace  garden. 

The  room  wliere  the  lovers  meet  (iii.  20**)  and  the  lamp-incident  oc- 
curs (iii.  22*)  adjoins  the  prison  room,  as  I think ; for  the  lovers  go  from 
their  meeting-room  to  tlie  garden  by  the  subterranean  passage,  and  they 
must  enter  the  passage  from  the  prison  room  or  near  it.  This  meeting- 
room  has  a “back-door”  entrance,  perhaps  from  some  obscure  court-yard. 

The  prison  room  is  an  “ inner  room,”  close  and  sweat-provoking,  iii. 
22*.  That  it  is  near  the  Queen’s  I infer  from  iv.  and 

Scene  1 (the  King’s  vision) : a place  outside  the  palace  (perhaps  an  obscure 
court-yard  ? ) near  the  lovers’  meeting-room.  Enter  King  and  Jester. 
The  King  describes  a vision  in  which  he  met  the  Heroine,  iii.  2*-3. 
To  divert  him,  the  Jester  tells  an  elaborate  counter-vision,  iii.  3*-7. 
The  two  engage  in  a lengthy  and  vapid  discussion  of  love,  iii.  8*-19. 

From  behind  the  stage  they  hear  the  enamored  plaints  of  the 
Heroine,  iii.  19*.  The  Jester  indulges  himself  in  much  badinage 
with  the  King,  iii.  20*.  Both  “make  as  if  entering,”  by  a “back- 


220 


Introduction  to  the  Translation. 


door,”  the  meeting-room,  hi.  20“  that  is,  they  “step  about”  by  way 
of  intimation  to  the  spectators  that  they  are  entering  it,  though 
remaining,  of  course,  on  the  stage. 

Scene  2 (the  lovers’  meeting) : [part  1]  a room  near  the  prison  room  (see  above). 

Enters  the  Heroine,  with  her  friend,  to  meet  King  and  Jester,  iii.  20“ 
The  King  takes  the  Heroine’s  hand,  iii.  20“.  She  has  just  come  from 
a close  “inner-room,”  so  the  Jester  fans  her,  and  in  so  doing  puts 
out  the  lamp,  iii.  22^“*. 

King  and  Heroine  hand  in  hand,  — the  four  now  grope  their  way 
[part  2j  through  the  prison  room  (?  see  above),  and  then  [part  3] 
through  the  dark  passage,  iii.  22®,  to  the  gardens  [part  4]. 

Scene  3 (the  moonrise  scene) : the  palace  garden.  A continuation  of  the  last 
part  of  the  foregoing  scene.  Stanzas  of  admiration  and  delight 
from  the  King,  iii.  23-24.  Behind  the  stage,  Bards  describe  the  rise 
of  the  full  moon,  iii.  25-28.  Then  follow  stanzas  by  the  Jester, 
Kurahgika,  and  the  Heroine,  iii.  29-31,  and  the  King,  iii.  32-34. 

Sudden  uproar,  iii.  34*.  The  Queen  has  heard  of  her  consort’s 
tricks  and  is  coming,  iii.  34^  The  Heroine  escapes,  by  the  secret 
passage,  to  her  prison,  iii.  34®.  Exeunt  omnes. 

Act  IV. 

From  iv.  9®*’,  it  appears  that  the  Queen  has  now  learned  of  the  subter- 
ranean passage  and  blocked  up  its  entrance.  We  are  forced  to  assume 
that  this  closure  of  the  passage  is  made  at  the  garden  end  thereof.  For  the 
Heroine,  the  passage  thus  becomes  a cul-de-sac ; its  prison  end  is  open ; 
she  can  enter  it  and  traverse  its  entire  length  ; but  she  cannot  get  out  at 
the  garden  end. 

Accordingly,  somewhere  near  the  garden  end,  a new  branch  passage 
has  been  excavated  from  the  main  passage  to  the  sanctuary  of  Chamundii 
near  the  Banyan,  the  mouth  of  this  branch  passage  being  concealed  behind 
the  idol,  iv.  18®®.  Between  the  entrance  of  the  Magician  and  that  of  the 
King  (scene  5),  the  Heroine  traverses  the  passage  that  connects  the  prison 
and  the  sanctuary  five  times. 

Scene  1 (the  love-sick  King) : presumably,  the  King’s  apartments.  Enters, 
with  his  Jester,  the  King,  and  bemoans  the  ardor  of  summer  and  of 
love.  Episode  of  the  tame  parrot,  iv.  2*.  More  stanzas  of  love  and 
summer,  iv.  3-9. 

The  Jester  now  tells  the  King  how  the  Queen  has  closed  up  the 
entrance  to  [the  garden  end  of]  the  subterranean  passage,  and  tells 
of  the  guards  that  have  been  set  all  about  that  entrance,  iv.  9'’’‘“. 
Scene  2 (“stage-traffick”) : place  and  actors  the  same.  Enters  Sarangika,  iv. 

9“,  with  a message  from  the  Queen:  “The  King  must  mouut  the 


4.  Synoptic  Analysis  of  the  Flay. 


221 


palace  roof  today  to  see  the  Banyan  festival,”  iv.  9'*.  Exit  Sarau- 
gikil,  iv.  9^. 

Scene  3 (the  Banyan  festival):  from  the  palace  roof,  iv.  9^’,  King  and  Jester 
look  down  on  an  elaborate  dance.  In  nine  stanzas,  iv.  10-18,  the 
Jester  describes  the  dance,  the  merry-makings,  and  the  off-hand 
theatre  play  (impersonations  with  masks,  etc.). 

We  must  here  imagine  a slight  interval  in  which  King  and  Jester 
come  down  from  the  palace  terrace  and  go  to  the  Emerald  Seat,  and 
thence  to  the  Plantain  Arbor.  But  see  note  to  ii.  29^ 

Scene  4 (“some  necessary  question  of  the  play”):  the  I’lantain  Arbor,  palace 
garden,  iv.  18*.  Reenters  Sarah gika,  iv.  18',  with  a message  from 
the  Queen:  “The  Queen  has  arranged  that  the  King,  this  very  even- 
ing. shall  take  to  wife  yet  another  princess,  iv.  18^^,  a princess  of 
Lata,  named  Ghanasara-manjarl,”  iv.  18"'"'®.  The  messenger,  further- 
more, narrates  that  the  Magician  induced  the  Queen  to  assent  to  this 
arrangement  on  the  ground  that  her  husband,  the  King,  would  be- 
come an  Emperor  by  contracting  this  new  marital  alliance,  iv.  18“ 
The  ceremony  is  to  take  place  in  a sanctuary  near  the  Banyan,  pre- 
sumably the  festival  Banyan,  iv.  18*^.  Exit  SarangikA 

After  exchanging  suspicions  (iv.  18**^  that  the  Magician  is  at  the 
bottom  of  this  affair,  exeunt  King  and  Jester.  The  mention  of  their 
exit  is  omitted  in  the  stage  directions. 

Scene  5 (the  wedding) : the  sanctuary  of  Chamimda,  in  the  palace  garden,  near 
the  Banyan.  With  two  episodes: 

Episode  1*,  the  prison  room  ; 1*>,  the  Queen’s  apartment. 

Episode  2»,  the  prison  room  ; 2*>,  the  Queen’s  apartment. 

Enters  the  ^lagician,  iv.  18*'^,  and  does  homage  to  the  Goddess,  iv. 
19,  whose  idol  screens  the  mouth  of  the  new  branch  passage,  iv.  18“ 
Enters  the  Heroine,  iv.  19*,  coming  from  her  prison,  and  issuing 
forth  from  the  passage  by  a small  opening  behind  the  idol. 

Enters  the  Queen,  iv.  19'“,  coming  from  the  garden,  and  is  dum- 
founded  at  seeing  the  Heroine,  whose  escape  from  the  prison  she 
thought  she  had  at  last  effectually  blocked.  The  Queen  cannot 
believe  her  own  eyes,  iv.  19'^'*.  Accordingly, 

Episode  1*.  The  Queen,  iv.  19*“,  on  pretext  of  returning  to  her 
apartments  to  get  some  things  for  the  wedding  (iv.  19'*),  “steps  about” 
on  the  stage,  to  indicate  that  she  is  leaving.  We  are  to  imagine  that 
she  goes  by  way  of  the  garden  to  the  prison  room.  The  Magician 
sees  through  her  pretext  and  sends  the  Heroine  hurriedly  back,  iv. 
19**,  by  the  new  branch  passage,  to  her  prison,  which  she  is  of  course 
imagined  to  reach  before  the  Queen.  The  Queen  is  again  no  less 
astonished  to  find  the  Heroine  quietly  seated  in  the  prison,  iv.  19“, 
and,  after  a few  words  with  her,  “ starts  ” to  return  to  the  sanctuary, 


222 


Introduction  to  the  Translation. 


iv.  19^.  Thereupon,  the  Heroine  returns  thither  by  the  secret  pas- 
sage, with  speed  (see  iv.  19^'). 

Episode  I**.  The  Queen,  on  her  way  back,  to  make  good  her  pre- 
text, stops  at  her  own  apartment  for  a moment  while  she  and  her 
friends  pick  up  the  things  for  the  wedding,  iv.  19^^*^.  Arriving  at 
the  sanctuary,  she  is  again  dumfounded,  iv.  19“  at  seeing  the 
Heroine  as  before. 

Episodes  2*  and  2'’  are  simply  repetitions  of  the  same  manoeuvres, 
iv.  19^®^  and  iv.  19^®“. 

Enters  the  King,  with  his  Jester  and  Kuraiigika,  iv.  19®‘.  Effusive 
admiration  on  the  part  of  the  King,  iv.  19®*-20.  The  Jester  shuts 
him  up,  iv.  20^  The  attendants  proceed  to  arrange  the  wedding 
costume  for  the  King  and  for  “ Ghanasara-manjarl,”  iv.  20®.  It  now 
transpires,  iv.  20“,  that  the  latter  is  no  other  than  Karpurarmahjarl. 
The  ceremony  is  performed,  iv.  21^,  and  the  King  “ takes  his  seat  as 
an  Emperor,”  iv.  21^ 

Behind  the  stage,  a Bard  congratulates  him,  iv.  21®;  the  King 
felicitates  himself,  iv.  23 ; and  the  play  closes  with  the  usual  bene- 
diction. 


5.  Dramatis  Personae. 

Chanda-pala,  the  King. 

Kapinjala,  his  Jester  (Vidushaka),  a Brahman. 
Vibhrama-lekha,  the  Queen. 

Vichakshana  and  Sarangika,  her  attendants. 
Bhairavananda,  a master  magician. 

Kafichana-chanda  and  Ratna-chanda,  two  bards. 
Porteress,  an  unnamed  woman,  who  serves  as  door-keeper. 
A tame  parrot. 

Karpura-mahjari,  the  Heroine. 

Kuraiigika,  her  confidante. 


Note. — The  Heroine  is  the  daughter  of  Vallabha-raja,  King  of  Kuntala,  and  of  his  wife, 
Qa9i-prabha  (p.  240).  The  latter  is  the  sister  of  Vibhrara.a-lekha’s  mother.  The  Heroine  and 
the  Queen  of  our  play  are  therefore  first  cousins  (daughters  of  sisters). 

Abbkeviations.  — For  abbreviated  titles  of  books  and  papers  cited, 
see  pages  175-177. 


KARPURA^IAjS^JARI. 


ACT  I. 


PROLOGUE. 

Invocation. 


All  hail  to  Sarasvati ! ^ joy  to  the  poets,  Vyiisa^  and  the  rest ! may 
the  most  excellent  words  of  others  too  ^ turn  out  highly  acceptable  to  the 
critics  ! may  the  Vaidarbhi  style  of  writing*  flash  like  a revelation  upon 
us,  — so  too  the  Magadhi  and  also  the  Pahchalikii ! may  the  connoisseurs 
of  poetry  let  these  styles  melt  on  their  tongue,  as  do  Chakora  birds  with 
the  moon-beams  ! ^ 1 

Moreover : 

Ever  cherish  ye  deep  reverence  for®  the  loves  of  Cupid  and  [his 
wife]  Rati,  in  which  no  flurried  embraces  are  noticed,  no  noisy  kissing  is 
going  on,  nor  amorous  beating  of  the  breasts.^  2 

[End  of  the  invocalionJ'] 

Stage-manager.  May  the  union  of  ^iva  and  [Parvati,  his  wife,] 
the  Daughter  of  Himalaya,  Avho  are  dear  to  the  hosts  of  the  Gods,  whose 
pledge  of  love  is  [their  son,]  the  Six-faced  [God,  Karttikeya],  and  Avho  are 
adorned  with  a crescent  moon  [on  their  brows],  yield  you  happiness.  3 

And  again: 

Victorious  is  Rudra,®  who  often,  as  he  bows  low*®  to  assuage  [his  Par- 


1 The  Goddess  of  Speech. 

2 Reputed  author  of  the  Maha-hharata. 

* That  is,  of  this  dramatic  company,  no 
less  than  those  of  the  more  famous  poets. 

* The  styles  (riti)  are  enumerated  at  Sahi- 
tya-darpana,  no.  625  f . See  Kavj'adarga,  i.  40  f . 

5 On  which  they  are  said  to  feed. 

® ‘Bow  down  (far,  i.e.)  low  before.’ 

’’  ‘ Loves,  not  possessing  noticed  embrace- 
durries,  nor  produced  kissing-noise,  nor  per- 
formed breast-beatings.’ 


® Recited  presumably  by  the  sutra-dhara 
or  Director  (who  here  makes  his  exit) ; and, 
if  so,  an  interesting  survival  of  older  dramatic 
usage.  See  Konow’s  Essay,  p.  196 ; and 
L6vi,  pp.  379,  135.  The  “Director’s”  first 
subordinate  seems  to  have  been  the  “ Stage- 
manager”;  and  subordinate  in  turn  to  the 
latter  was  his  “ Assistant.”  See  p.  217. 

9 Tantamount  to  Qiva. 

19  ‘ In  his  bowings.’ 


223 


i.  4 — 


Translation. 


[224 


vati’s]  jealous  anger,  lays  — a bit  quickly  ^ — at  the  lotus-like  feet  of  the 
Daughter  of  Himalaya  liis  offering  of  pearly  moon-heams,^  together  with 
a silvery  conch  made  of  the  moon’s  slender  crescent  and  filled  to  the  brim  ® 
with  waters  of  the  Ganges  of  Heaven,  and  places  his  two  hands  the  while 
[in  token  of  reverence]  on  his  bowed  head.  4 

\_Walks  about  the  stage  and  looks  toward  ike  tiring-room.'] 

But  our  players  seem  [already]  to  be  busy  about  their  acting  : for  one 
actress  is  getting  together  such  costumes  as  suit  the  roles ; another  is 
twining  garlands  of  flowers ; [4]  a third  is  putting  the  masks  in  order  ; 
some  one  seems  to  be  rubbing  colors  on  a palette  ; here  they  are  tuning  * 
a flute  ; there  a lute  is  being  strung  ; [8]  and  here  they  are  making  ready 
three  drums ; here  the  noise  of  timbrels  is  heard ; [10]  there  they  are 
rehearsing  the  introductory  stanza.  So  I’ll  call  some  attendant  and 

^ ^ \Looks  toward  the  tiring-room  and  beckons.]  [13] 

[Enters  the  Assistant  of  the  Stage-manager.] 

Assistant.  Sir,  your  commands,  [is] 

Stage-manager.  You  seem  to  be  busy  about  a play,  are  you  not  ? 

Assistant.  To  be  sure.  We  are  going  to  enact  a Sattaka. 

Stage-manager.  But  who  is  the  author  of  it  ? 

Assistant.  Your  worship,  let  this  be  answered:  who  is  called 
“ Moon-crowned  ” ? ® and  who  is  the  teacher  of  Mahendrapala,  the  crest- 
jewel  of  the  race  of  Raghu?  5 

Stage-manager.  \^Refiecting.~\  Aha!  that,  I think,  is  an  answer  in 
the  form  of  a question  : [^aloud']  Raja Qckhara  ! 

Assistant.  [Yes,]  he  is  the  author  of  it. 

Stage-manager.  '[^Recollecting.']  It  has  been  said  by  the  con- 
noisseurs : 

“ Sattaka”  is  the  name  of  a play  which  much  resembles  a Niitika,  ex- 
cepting only  that  Pravegakas,  Vishkambhakas,  and  Ankas  do  not  occur.  6 

[Reflecting.]  Then  why  has  the  poet  abandoned  the  Sanskrit  lan- 
guage and  undertaken  a composition  in  Pi-rikrit  ? 


1 For  fear  lest  her  anger  increase. 

2 ‘ Of  moon-light  pearls.’ 

* See  under  a.  Literally,  ‘ to  the  root,’ 
and  so,  ‘radically,  completely.’  Similarly 
at  ii.  2». 

* See  OB.  under  sthana  1 (w). 


6 Literally,  ‘ Having  the  night’s  beloved 
(raanivallaha)  [i.e.  the  moon,  which  is  also 
called  raja]  as  his  crown  ’ (sihanda)  [ San- 
skrit, ^ikhanda,  used  as  an  equivalent  for 
gekhara].  That  is,  the  assistant’s  reply  is 
couched  in  the  form  of  a charade. 


225] 


Act  First. 


— i.  126 


Assistant.  Sanskrit  poems  are  harsh ; hut  a Prakrit  poem  is  very 
smooth ; the  difference  between  them  in  this  respect  is  as  great  as  that 
between  man  and  woman.  7 

And  he  wlio  is  expert  in  all  languages  ^ has  said  ; 

The  various  themes  remain  the  same  ; the  words  remain  the  same, 
although  undergoing  [certain  phonetic]  modifications  ^ : a poem  is  a 
peculiar  way  of  expression, ^ be  the  language  whichsoever  it  may.  8 

Stage-managek.  And  has  he  then  [the  poet]  made  no  statement 
about  himself? 

Assistant.  Listen.  A statement  has  indeed  been  made  by  one  of 
his  poet  contemporaries,  the  author  of  the  stoiy  of  Mrgaiikaleklia,  by 
Aparajita,^  namely,  as  follows  : 

He  who  has  risen  to  lofty  dignity  by  the  successive  steps  of  young 
poet,  chief  poet,  and  teacher  of  King  Nibbhara,®  [i.e.  Mahendrapfda], — 9 
He  is  the  author  of  it,  the  famous  Rajagekhara,  whose  merits  make 
resplendent  the  three  worlds  even,  [and]  are  left  unblemished  [even]  by 
the  rivalry  of  the  moon.  10 

Stage-manager.  At  whose  instance  then  are  you  enacting  the 
play? 

Assistant.  The  crest-garland  of  the  Chauhan  family,®  the  wife  of 
the  chief  poet  Rajagekhara,  the  lady  whose  husband  wrote  the  play, 
Avantisundari,  — she  desires  us  to  enact  it.^  11 

Moreover  : 

In  this  excellent  Sattaka,  which  is  a river  of  poetic  flavors,  [King] 
Chandapala,  the  moon  of  our  earth,  in  order  to  achieve  the  rank  of  an 
Emperor,  takes  to  wife  the  daughter  of  the  Lord  of  Kuntala.  12 

Stage-manager.  Come,  then  ! what  we  have  at  once  to  do  let  us 
accomplish ; for  the  Director  and  his  wife,  who  have  taken  the  parts  of 
the  King  and  the  Queen,  are  waiting  in  the  tiring-room. 

[The  two  walk  about  the  stage  and  exeunt.']  [4] 

[End  of  the  Prologue.] 

1 This  seems  to  refer  to  Raja^ekhara.  — its  mode  of  expression.  The  definition  is,  in 
The  following  jadha  is  like  the  Greek  “ reci-  the  original  and  as  we  give  it,  loose, 
tative  8rt.”  ♦ See  p.  197.  ® See  p.  178. 

* Such  namely  as  obtain  between  Pra-  « Seep.  180,  and  C.  M.  Duff’s  Chronology 

krit  words  and  the  corresponding  Sanskrit  of  India,  p.  277,  and  Journal  of  the  Royal 
ones.  Asiatic  Society,  1899,  p.  646. 

® That  is,  its  distinctive  character  lies  in  ’ Lit.,  ‘ it,  the  work  of  her  husband.’ 


i.  126  — 


Translation. 


[226 


\Then  enter  the  King,  the  Queen,  the  Jester,  and,  according  to  rank,  the  attendants.  All  walk 
about  the  stage  and  take  seats  in  due  order.~\  [7] 

King.  O Queen,  daughter  of  the  sovereign  of  the  Deccan,  I congrat- 
ulate you  that  the  spring  is  begun. ^ For, 

Inasmuch  as  the  maidens  no  longer  put  much  wax  on  their  lips,^  and 
do  not  in  arranging  their  braids  anoint  them  with  fragrant  oil,  and  do  not 
put  on  a bodice,  and  are  indifferent  even  as  to  the  use  of  the  thick  saffron  ^ 
for  tlieir  mouths, — therefore  I think  the  festal  spring-time  is  at  hand  and 
has  overcome  by  its  power  the  cold.  13 

Queen.  I too,  in  my  turn,  will  congratulate  you. 

Now  that  the  frosts  are  gone,  [again  fair  maidens]  rub  their  pearly 
teeth. ^ Little  by  little  [again]  they  set  their  hearts  on  extract  of  sandal.® 
At  this  season,  behold,  couples  sleep  on  the  verandas  of  their  dwellings,® 
the  blankets  heaped  [unused]  at  the  foot  [of  their  couches].  14 

First  Bard.  \_Behind  the  stage.~\  Victory,  victory  to  thee,  [O  King]  ! 
Thou  gallant  of  the  women  of  the  East,  thou  champak-bloom  ear-orna- 
ment of  the  town  of  Champa,'^  thou  whose  lustre  (rddha)  transcends  the 
loveliness  of  Radha,®  who  hast  conquered  Assam  by  thy  prow'ess,  who 


1 See  p.  214-215. 

2 As  they  would  in  the  cold  weather  to 
prevent  chapping. 

* In  the  Indian  materia  medica  (see 
Dhanvantariya  Nighantu,  p.  96)  saffron  is 
esteemed  fragrant  and  pungent  and  hot  and 
as  a specific  for  cough,  phlegm,  and  sore 
throat.  Hence  pretty  girls  have  less  need  of  it 
at  the  end  of  the  season  of  cold  and  of  colds. 

* With  rind  of  betel  (cp.  p.  181).  Konow 
cites  Viddh.,  p.  75*  (chollida  = gharsita),  and 
H.  4.395  (choll  = taks)  : ‘ Fair  maidens  (do, 
i.e.  putzen,  un-mrjanti)  cleanse  their  teeth.’ 
This  too  is  a sign  of  returning  spring : for  in 
the  cold  weather,  it  was  actually  painful  to 
cleanse  them  because  of  cracked  lips.  — Va- 
sudeva  renders  chollanti  by  sphuranti : 
‘ the  teeth-jewels  flash,’  i.e.  girls  show  their 
pearly  teeth  in  laughing,  which  they  could 
not  bear  to  do  while  their  lips  were  so 
chapped.  Cp.  Rtu-saihhara,  iv.  6. 

® Esteemed  as  the  most  eminent  refrig- 
erant (Dhanvantari,  p.  93),  and  so  the  exact 
opposite  of  the  calefacient  saffron.  Cp.  In- 
dische  Spriiche,  1763,  2215. 

® Ghara  seems  to  include  the  whole 


dwelling-place,  i.e.  the  central  bimgalow  and 
all  the  adjoining  compound.  In  cold  weather, 
people  slept,  for  the  sake  of  warmth,  in  the 
antar-grha,  the  innermost  apartment  or 
perhaps  the  central  bungalow.  Now,  on  ac- 
count of  the  heat,  they  have  left  off  doing  so, 
and  sleep  in  the  salias  ; these  may  be  thatch- 
roofed  sheds  without  walls  (to  secure  shade 
and  allow  circulation  of  air),  or  else  veran- 
das around  the  antar-grha ; and  might,  in 
either  case,  be  called  majjhima  as  being 
‘between’  the  antargrha  and  the  walls  of 
the  compound. 

Vatsyayana,  Kamasutra,  ed.  Bombay, 
1891,  p.  44,  45,  speaks  of  a dwelling  with 
spacious  court,  and  with  two  sleeping-rooms 
(bhavanam  dvi-vasagrham) , an  inner  (abhy- 
antaram)  and  an  outer  (bahyam) ; the  com- 
ment refers  also  to  the  vastuvidya. 

''The  champak-tree  has  a very  fragrant 
golden  flower  much  used  as  a decoration  for 
the  hair  and  ears.  The  far-fetched  metaphor 
of  the  bombastic  panegjTist  is  chosen  here  in 
part  for  the  sake  of  the  pun. 

® Literally,  ‘0  thou,  having  the  loveli- 
ness of  Rildha  [a  district  of  western  Bengal] 


227] 


Act  First. 


— i.  163 


providest  merry-makings  {kcli)  for  Hari-keli,^  who  mayst  well  make  light 
of  3 the  beauty  of  genuine  gold,  who  delightest  us  by  the  comeliness  of  all 
thy  person ! — May  the  beginning  of  the  fragrant  season  [spring]  be  a 
joy  to  thee  ! For  now, 

Cool  from  the  Malabar  mountains,  are  coming  the  [vernal]  breezes.* 

Wanton  they  rutile  the  down  on  the  cheeks'*  of  the  Pandian  ■women, 

Breaking  the  jealous  pride  ® of  the  tender  maidens  of  Kanchi, 

Filling  the  matrons  of  Chola  with  passion  for  love’s  embraces, 

AVaving  the  tresses  [fair]  of  the  beauties  that  dwell  in  Karnata, 

Tying  the  knots  of  love  ’twixt  the  Kuntala  girls  and  their  lovers.  15 

Second  Bard.  [Behind  the  stage.'\  The  champak  bloom  has  become 
like  to  a Maratha  girl’s  cheek  when  rubbed  with  saffron-paste.®  Tlie 
jasmines,  with  blossoms  as  fair  as  slightly  churned  milk,  are  bursting  and 
bursting.'^  The  dhak-tree,®  blackish  at  the  root,®  and  with  bees  clinging 
to  its  tips,  looks  as  if  bees  were  clinging  to  it  from  head  to  foot^®  and 
drinking  its  juices.  16 

King.  Dear  Vibhramalekhii,  say  not  that  1 have  congratulated  thee, 
nor  that  thou  hast  congratulated  me  ; but  rather  that  both  of  us  have  been 
congratulated  by  the  two  bards,  Kaiichana-chanda  and  Ratna-chanda.^^ 
[2]  So  now  to  her  heart’s  content  let  my  Queen  with  eyes  as  big  as  [her] 


surpassed  by  thy  (radha  or)  lustre  ’ — again 
a pun. 

lA  name  for  Bengal  (Hemachandra, 
957)  — again  a pun. 

2 Literally,  ‘hast  made  light  of,’  i.e.  art 
so  handsome  that  thou  canst  well  afford  to  do 
so.  — When  it  comes  to  the  version  of  Indian 
panegyric,  English  is  poor  indeed. 

®Cp.  Madanika’s  song  kusumauha-pia- 
duao,  near  the  beginning  of  act  i.  of  Eatnavali 
(translated,  Wilson,  ii.  270).  Also,  Kadam- 
bari,  p.  437®.  Similarly  Tennyson,  Locksley 
Hall,  line  20,  “ In  the  Spring”  etc. 

‘Literally,  ‘ Wanton  in  causing  horripila- 
tion on  the  edges  of  the  cheeks.  ’ 

® So  that  they  yield  to  the  seductions  of 
love.  The  same  idea  at  ii.  50*>  and  iii.  30*. 

6 Of  saffron  it  is  also  said  that  it  will 
make  the  face  as  fair  as  the  full  moon’s  disk 
— Yogaratnakara,  under  ksudrarogacikitsa, 
p.  382'“  of  Poona  ed.  The  tertium  compara- 
tionis  appears  to  be  the  color  common  to  the 


golden-hued  champak  blossom  and  to  the 
flesh-tint  of  the  cheek  when  somewhat 
yellowed  by  the  overlaying  of  saffron. 

' The  flowers  of  most  varieties  are  very 
fragrant  and  of  pure  mUky  whiteness  — cp.  i. 
19'. 

* The  Butea  frondosa,  a middle-sized  tree, 
its  trunk  crooked  and  covered  with  ash- 
colored,  spongy,  scabrous  bark.  Lac  insects 
[Coccidae]  are  frequent  on  its  small  branches 
and  leaf-stalks.  So  Roxburgh,  p.  540  f.  The 
lac  exudes  from  the  punctures  made  by  the 
coccus.  — See  Griffiths,  fig.  72  and  pi.  63. 

9 So  that  this  too  (see  preceding  note) 
looks  as  if  bees  were  swarming  upon  it. 

19  Literally,*  appears  (notatur)  as  if  quaffed 
by  bees  that  cling  [to  it]  even  in  two  direc- 
tions or  points,  i.e.  even  at  top  and  bottom.’ 
— Perhaps  bhasala  (here  rendered  ‘bee’) 
refers  (inaccurately  ?)  to  the  coccus  insects. 

11  He  is  called  by  the  equivalent  name 
Manikya-chanda  at  iii.  26'i. 


i.  163  — 


Translation. 


[228 


open  palm,i  contemplate  this  festal  season  of  spring  : ^ — [of  spring,]  that 
quickens  bold  maids  unto  amorous  flurry  ; that  sets  a-dancing  like  dance- 
girls  the  creepers  that  sway  in  the  Malabar  breezes ; that  sweetly  recites 
its  panchama-note  in  the  throats  of  the  soft-throated  [cuckoos]  that 
brings  forth  in  ample  measure  the  rods  for  the  bows  of  Cupid  and  speed- 
eth  the  arrows  of  love  with  vehemence  none  may  hinder ; ^ [of  spring,] 
the  loved  friend  of  [that]  matron  staid,  [the  Earth,]  the  Keeper  of  Treas- 
ure. [3] 

Queen.  The  Malabar-breezes  have  indeed  begun,  as  the  bards  have 
said.  For, 

Waving  the  garlands  that  hang  in  the  doorways  of  Laiika,®  slowly 
swaying  the  sandal-tree  thickets  in  the  hermitage  of  Agastya,®  blended 
with  odors  of  camphor,  making  to  tremble  the  clumps  of  agoka,^  setting 
completely  a-dancing  the  creepers  of  betel,  impetuously  kissing  the  waters 
of  Tamraparni,®  [hither  at  last]  are  blowing  the  breezes  of  Chaitra.®  17 

And  again: 

“ Your  jealous  pride  quit  ye,  [fair  maids] ! give  [each]  to  your  darling 
a glance,  be  it  never  so  restless ! [for]  tender  youth,  that  plumps  your 

swelling  breasts,  by  days  is  measured,^i  five  [perchance],  or  ten!  ” — such 
is,  as  it  were,  the  Five-arrowed  God’s  all-galling  command,  disguised 


1 Cp.  note  to  i.  32. 

2 1 take  mahiisava  (madhu-utsava)  as  an 
instance  of  rupaka  (Dandin’s  Poetics,  ii.  66) 
and  interpret  it,  not  as  ‘spring-festival,’  but 
rather  as  ‘ the  spring  which  is  like  to  a festi- 
val,’ and  so,  ‘the  festal  season  of  spring.’ 
Similarly,  ‘creeper  dance-girls,’  i.e.  ‘ creepers 
that  are  like  dance-girls.’ 

3 Literally,  [.spring,  ] ‘ possessing  the  note, 
sweet  and  recited  (or  sweetly  recited),  in  the 
throats  of  the  soft-throated  [kokilas  or 
koils].’ 

* I take  this  as  a copulative  compound 
(Whitney,  Grammar,  § 1257)  made  up  of  two 
possessive  compounds:  literally  [spring,] 

‘ possessing  abundantly-produced  Cupid’s- 
bow-rods  and  possessing  unbroken  arrow- 
impetuosity.’  — The  exceedingly  long  word 
is  notable  for  its  excessive  alliterative  use 
of  nd’s. 

6 Ceylon. 

® Located  on  a crest  of  the  Malabar  range 


by  the  Ramayana,  ed.  Bombay,  iv.  41.  15 ; 
but  a later  stanza  (.34)  of  the  same  canto 
inconsistently  puts  his  dwelling  on  Mount 
Kunjara  in  Ceylon.  — The  canto  contains 
many  of  the  geographical  allusions  which 
occur  in  this  play.  Cp.  Lassen,  Indische 
Alterthumskunde,  i.  153  f. 

’’  Kahkelli,  a name  for  the  agoka-tree  — 
see  my  notes  to  1.  20^’. 

® A river  rising  near  the  southern  end  of 
the  Western  Ghauts  and  flowing  generally 
south  and  east  to  the  gulf  of  Manar.  At 
present  the  name  Malaya  is  hardly  applied  to 
the  Ghauts  so  far  south. 

9 The  first  month  of  spring,  March-April, 
p.  214. 

Literally,  ‘ a glance,  followed  by  un- 
steady movements  (of  the  eyes).’ 
u Literally,  ‘ youth  [is]  for  days.’ 
Cupid’s.  — For  20  names  of  Cupid  and 
for  names  of  his  belongings,  see  Ilema- 
chandra,  227  ff. 


22<JJ 


Act  First. 


— i.  1817 


under  the  melodious  warblings  of  the  cuckoo,  which  the  festal  season  of 
Chaitra  [just  now]  hath  suddenly  given. i 18 

Jester.  Hi  there!  among  you  all,  I’m  the  only  one  that’s  a bit  of  a 
scholar:  for  my  father-in-law’s  father-in-law  used  to  lug  around  books  at 
another  man’s  house. 

Attendant  [Vichakshana] . [bursts  out  laughing.']  Got  your  learn- 
ing by  direct  inheritance,  then,  didn’t  you  ? [4] 

Jester.  [^Rather  nettled.]  I la,  you  slave-girl’s  child,  who’ll  be  a 
bawd  in  your  next  birth,  you  Vichakshana,  Small-Fraction-er!^  am  I such 
a fool  as  to  be  laughed  at  even  by  you  ? [e]  Anti  besides,  — O you  polluter 
of  other  men’s  sons,  you  light-o’-love,®  you  terror  of  the  gambling-hells, 
hand  and  glove  with  ruined  folk!*  — what  have  you  got  to  say  against  my 
inheriting  my  learning?®  please  take  notice  that  they  who  are  born  in 
Akala-jalada’s  family  do  get  their  learning  by  inheritance!  but  there’s  no 
use  in  talking. — “ Bangle  on  )'our  wrist,  no  need  of  a mirror.”®  [lO] 

Vichakshana.  \^Re fleeting.]  Right  you  are  ! — Nor  of  asking  7 the 
bystanders  if  a horse  is  speeding,  when  you  see  him  on  the  dead  run.  — 
Come  now,  give  us  a description  of  spring.  [l4] 

Jester.  How  do  you  come  to  be  standing  there  chattering  like  a 
caged  starling  ? ® You  don’t  know  anything.  — So  I’ll  give  my  recitation 


1 1 find  a very  similar  thought  in  Kavya- 
prakaga,  x.  105,  p,  705,  ed.  Bombay  (given 
also  by  Bohtlingk,  Spriiche,  2021,  ksinah, 
etc.). 

2 1 coin  this  word  to  reproduce  the  jin- 
gling and  riming  billingsgate  of  the  original  — 
nillakkhane  viakkhane,  ‘ insignificant  Vich- 
akshana ’ ; and  neglect  the  -a. 

® An  unclear  word  ; perhaps  ‘ having  the 
character  of  a bee  ’ (in  its  flight),  i.e.  ‘un- 
steady, capricious.’ 

* ‘ 0 thou,  united  with  ruined  folk,’  root 
trut. 

® ‘ Was  the  inheriting  of  my  learning  a 
discredit  ? ’ 

® The  fact  is  as  plain  without  talk  as  is  a 
bangle  on  your  wrist  without  a mirror.  This 
last  seems  to  be  a proverb  (p.  206)  and  in 
abrupt  form. 

'•  That  is,  ‘ and  no  need  of  asking  ’ etc.  — 
Apparently  a second  proverb  of  the  same 
purport  as  the  foregoing. 


® ‘ Caged  saria.’  The  same  as  the  maana- 
saria,  Skt.  madana-sarika.  From  maana  or 
mayana  Platts  derives  maina,  the  name  of 
the  mina  bird : see  his  Hindustani  Dic’y, 
under  maina,  p.  1 108a.  The  mina  is  the  talk- 
ing starling  or  religious  grackle  of  India,  the 
Eulabes  religiosa : see  Century  Dic’y,  under 
Eulabes,  and  picture. 

As  Dr.  Konow  tells  me,  the  sarika  is 
mentioned  with  the  parrot  (suke  salika)  as 
early  as  A5oka’s  reign,  namely  in  Edict  5 of 
the  Delhi  Pillar;  see  Senart,  Les  ^dits  des 
piliers,  p.  44,  65,  or  Btihler,  ZDMG.  xlvi. 
64,  69,  or  Biihler,  Epigraphia  Indica,  ii. 
259. 

The  birds  are  habitual  companions  in 
literature  and  in  life.  A caged  parrot  and 
the  mina  are  mentioned  together,  Mrcchaka^ 
tika,  ed.  Stenzler,  p.  7H®,  the  latter  as  chat- 
tering (kurukuraadi)  like  a saucy  house-maid. 
Cp.  the  whole  scene  with  the  caged  saria, 
Ratnavali,  beginning  of  act  ii.;  and  parrot 


i.  1817_ 


Trandation. 


[230 


before  my  old  man  ^ and  the  Queen  : for  musk  isn’t  sold  in  a petty  hamlet 
or  a jungle  ; nor  is  gold  tested  without  a touchstone. ^ [is] 

[<So  saying,  he  recites.^ 

The  Sinduvara  shrubs  that  bear  a quantity  of  blossoms  like  to  rice- 
pudding,^ — my  favorites  are  they ; and  also  the  multitudes  of  fair  jasmine 
blooms,  like  to  strained  buffalo-milk. ® 19 

ViCHAKSHAXA.  [^Derisively. ^ Your  words  are  as  paltry  as  you  your- 
self are.'* 

Jester.  Well  then.  Miss  Noble-Words,  do  you  give  a recital. 

Queex.  [Smilmg  a bit.~\  Friend  Vichakshana,  you’re  rather  puffed 
up  ® with  pride  before  us  on  account  of  your  strong  poetic  ability.  [5]  So 
then,  do  you  recite  now,  before  my  lord,  [the  King],  a bit  of  poetry  of 
your  own  making  : for  that  is  true  poetry  which  will  bear  recital®  in  the 
assembhes  ; that  is  pure  gold  which  proves  clear  ^ on  the  touchstone  ; she 
is  a true  wife  who  gladdens  her  husband  ; he  is  a true  son  who  makes  his 
family  illustrious.  [7] 

ViCHAKSHAXA.  As  the  Queen  commands.  [#S'o  saying,  she  recites.~\ 


episode  of  this  play,  iv.  4.  In  KSS.  77,  parrot 
and  mina  tell  stories.  — Caged  birds  in  fres- 
coes, Griffiths,  pi.  45. 

The  Indian  exquisite  (nagarika)  spent 
the  time  between  his  forenoon  meal  and  his 
midday  nap  in  teaching  his  parrots  and  star- 
lings to  talk : see  Kamasutra,  ed.  Bombay, 
1891,  p.  48iq  49'® ; Bana’s  Kadambari,  p.  356 
end.  For  this  accomplishment  both  birds 
have  great  capacity.  They  can  rattle  off  at 
a great  rate  the  Vedas  and  Qastras,  which 
they  incessantly  overheard : Kadambari,  p. 
81^,  38  ; cp.  Harshacharita,  p.  244’,  221  end  ; 
also,  above,  p.  204,  Pischel.  Secrets  must 
not  be  told  in  their  presence : comm,  to  Manu 
vii.  149.  A very  learned  parrot  appears  at 
KSS.  lix.  28  ff.  Both  birds  alike  come  to 
grief  for  their  much  talk,  Spriiche,  899. 

See  T.  C.  Jerdon,  Birds  of  India,  Cal- 
cutta, 1863,  ii.  p.  320-340  ; R.  C.  Temple  has 
a valuable  paper  about  the  bird,  I'anjabi 
Sharak,  Indian  Antiquary,  xi.  291-3  : cp.  xiv. 
305  (Aelian’s  de.scription).  See  also  Wilson, 
Hindu  Theatre,  ii.  277  ; and  Index  to  Kid- 
ding’s  Kadambari,  p.  225,  under  maina.  While 
I am  studying  this  subject,  my  friend  Rouse, 
of  Rugby  School,  sends  me  his  charming 


book.  The  Talking  Thrush,  London,  1899. 
And  Bloomfield  refers  me  to  Kau5ika,  x.  2, 
etc.  (very  pretty  symbolism). 

’The  Sahitya-darpana,  no.  431,  allows 
vaassa,  ‘ comrade,’  as  a form  of  address  to 
the  king,  to  be  used  by  royal  sages  and  by 
the  jester.  When  so  used  by  the  jester,  witli 
pia-,  it  seems  to  me  to  connote  no  less  famil- 
iarity than  our  colloquial  “ Old  !Man.”  — The 
chief  of  police  uses  it  when  he  ofiers  to  treat 
the  low-caste  fisherman,  who,  after  finding 
Qakuntala’s  ring,  gives  part  of  the  money- 
reward  to  the  officers  (end  of  prelude  to  act 
vi.).  Cp.  preface,  p.  xix. 

2 1 mustn’t  cast  my  pearls  before  swine, 
nor  seek  the  applause  of  “the  unskilful.’’ 
Only  “the  judicious’’  must  pass  upon  my 
verses.  — Proverbial  expressions  again. 

® In  whiteness.  Cp.  i.  16'>and  Kadambari, 
p.  100,  261. — The  Jester’s  verses  smack  of 
the  kitchen. 

* ‘ Your  words  match  your  own  paltri- 
ness,’ taking  kantarattana  as  = karpanya. 

®For  uttana,  Konow  cites  Pftiyalacchi, 
St.  75. 

® ‘ That  is  poetry  which  is  recited  ’ etc. 

’ Sub  voce  nivvad  : cp.  II.  4.  62. 


Act  First. 


— i.  20' 


231] 


'File  winds  that  had  almost  died  on  ^ the  Hanks  of  the  mountains  of 
Lailka,  that  had  grown  weak  from  filling  wide-exiianded  hood  after  hood 
of  the  serpents,^  wearied  with  dalliance,®  — at  this  season,  they,  as  Mala- 
bar-winds,  mingling  with  the  sighs  of  maids  whose  lovers  have  left  them, 
have  become,  suddenly,  although  in  their  childhood,^  strong,  filled  as  it 
were  with  freshness.  20 

King.  Truly,  Vichakshana  is  clever  (yichakshana)  by  reason  of  her 
skill  in  expression  and  her  variety  of  diction.  And  so,  she  stands  — what 
else  ? — as  a crest-jewel  of  poets. 

Jester.  \^Nettled.'\  Then  why  don’t  you  say  it  straight  out:  “ Vi- 
chakshana’s  at  the  tip-top  in  poetry,  [and  I,]  Kapinjala,  a Brahman,  at 
the  very  bottom  ’’  ? [4] 

Vichakshana.  ^ly  good  man,  don’t  get  excited.  It’s  your  poem 
that  betrays  your  poetic  ability : ® for  your  words,  fine  [enough  in  them- 
selves], although  [spent]  on  a matter  blameable  for  paltriness,  — like  a 
string  of  pearls  on  a flabby-breasted  [old  hag],  like  a [trig]  bodice  on  a 
pot-bellied  creature,  like  the  collyrium  pencil®  on  a one-eyed  woman, — 
are  not  over  and  above  charming.  [7] 


1 Root  skhal : ‘ stumbled,’  or  (as  we  say 
of  the  wind)  ‘ fallen  and  so,  ‘ checked  by.’ 

2 Literally,  ‘ had  come  to  impoverishment 
in  the  wide-expanded  hood-row’s  (subjective 
genitive !)  swallowing.’  The  ranks  of  ex- 
panded hoods  of  the  female  serpents  have 
swallowed  so  much  of  the  wind  that  its  force 
has  slackened  ! Characteristic  exaggeration  ! 
Quite  similar  is  the  idea  of  Dandin,  who  calls 
the  slack  south-wind  the  “leavings  from  the 
repasts  of  the  serpents  of  the  Malabar  hills,” 
Dagakumara-charita,  I.  v.,  beginning. — “The 
snakes,  ’tis  said,  on  wind  are  fed.”  Spruche, 
4873,  phani  pavanabhuk : cp.  4:376.  “Tlie 
Cobras  . . . prefer  taking  their  food  at  dusk 
or  in  the  night.”  — Fayrer,  p.  6. 

My  colleague,  Mr.  Samuel  Garman,  Her- 
petologist of  the  Agassiz  Museum,  kindly 
refers  me  to  Sir  Joseph  Fayrer’s  Thanato- 
phidia  of  India,  2d  ed.,  London,  1874.  Plates 
1-6  of  this  magnificent  folio  are  devoted  to 
the  very  deadly  Naja  tripudians,  the  Naga, 
or  Cobra  di  Capello.  I quote  from  page  7: 
“ Some  of  the  snake-catchers  have  a curious 
notion  concerning  the  sex  of  the  Cobra.  They 


say  that  the  hooded  snakes  are  all  females 
and  poisonous ; and  that  the  males  are  all 
hoodless  and  innocent.”  It  is  not  venture- 
some to  assume  that  this  belief,  albeit  un- 
founded, was  current  a thousand  years  ago 
and  accepted  by  our  poet.  Hence  the  signifi- 
cance of  his  specific  mention  of  the  female 
serpents.  The  males  are  in  fact  smaller  than 
the  females,  Mr.  Garman  tells  me.  — If  Fayrer 
is  not  accessible,  the  reader  may  consult 
Joseph  Ewart’s  Poisonous  Snakes  of  India, 
London,  1878. 

® Cp.  Bhartrhari’s  ardham  nitva. 

* Because  the  season  in  which  they  blow 
has  only  just  begun.  — The  whole  stanza  is 
commented  in  Jhalkikar’s  ed.  of  Kavya- 
prakaga,  iv.  41,  p.  157. 

® That  is,  if  you  have  any  : and  here, 
yours  show  that  you  haven’t.  — I purposely 
use  ‘betray,’  as  having,  like  pisunedi,  a 
sinister  connotation. 

® That  is,  the  strokes  of  the  pencil  with 
which  women  applied  the  collyrium  to  blacken 
their  eyelids  and  eyebrows  by  way  of  adorn- 
ment. 


i.  208 


Translation. 


[232 


Jester.  With  you,  on  the  contrary,  although  your  matter  was 
charming,  — it  wasn’t  pretty,  the  way  you  strung  the  words  together,  [s] 
Like  a row  of  copper  bells  on  a golden  girdle,  like  trimmings  of  coarse 
silk  on  a [fine]  silken  fabric,  like  sandal-ointment  on  a girl  of  loveliest 
tint,^  — it  [your  language]  doesn’t  partake  of  the  elegance  [of  your 
ideas]. ^ But  in  spite  of  all  that,  you  do  get  praised,  [lo] 

ViCHAKSHANA.  My  good  man,  don’t  get  excited.  There’s  no  rival- 
ing you  : for  you,  though  unlettered  as  the  iron  beam  of  a goldsmith’s 
balance,  are  employed  [in  a,  that  is]  as  part  of  a [still  finer]  balance  for 
weighing  jewels  ; while  I,  though  lettered  like  a [common]  balance,  am 
not  employed  in  the  weighing  of  gold.®  [l4] 

Jester.  If  you  ridicule  me  that  way.  I’ll  tear  off  that  part  of  you 
that  goes  by  the  name  of  Yudhishthira’s  eldest  brother,*  your  left  one,  and 
your  right  one  too,  in  a hurry,  [is] 

ViCHAKSHAKA.  And  I’ll  break  that  part  of  you  that  goes  by  the 
name  of  the  asterism®  following  Latter  PhalgunI,  in  a hurry.  [16] 

King.  Man,  don’t  talk  that  way.  She  has  some  standing®  in  the  line 
of  poetry.  [l8] 

Jester.  \_Nettled.'\  Then  why  don’t  you  say  it  straight  out  : “Our 
little  hussy’s  a first-rate  poet,  ahead  even  of  Ilarivrddha,  Nandi vrddha, 
Pottisa,  Hala,  and  the  rest  ” ? [No  saying.,  he  prances  around  on  the 
stage.  ] [21] 

ViCHAKSHANA.  [^Derisively You  take  yourself  off  to  where  my 
first  swaddling-clothes  went.'^  [23] 

1 To  an  Occidental,  gaura,  ‘yellowish  ’ is 
a doubtful  compliment : it  is  applied  to  a 
beautiful  woman  of  golden  flesh-tint,  at 
Ramayana  v.  10.  52,  ed.  Bombay,  and  is  used 
similarly  here,  as  I think. 

^ Or,  your  uncouth  words  do  not  sup- 
port or  keep  from  falling  (avalambedi),  that 
is,  do  not  keep  from  appearing  ridiculous,  the 
elegance  of  your  ideas. — The  jester’s  words 
are  good  and  his  subject  bad  (like  pearls  on  a 
hag) : Vichakshana’s  words  are  bad  and  her 
subject  good  (like  a coarse  patch  on  a fine 
fabric).  I am  not  sure  about  avalambedi. 

If  I am  right,  the  sandal-ointment  seems  out 
of  place. 

® Presumably,  the  beam  of  the  common 
balance,  for  bulky  things  like  cotton,  had 


its  divisions  marked  by  letters  (aksaras)  ; 
while  the  beam  of  the  balance  for  weighing 
gold  or  finer  objects  was  not  lettered.  At 
any  rate,  the  play  of  words  on  “ unlettered" 
(=  ‘ unmarked ’ and  ‘illiterate’)  and  ‘‘let- 
tered ’’  ( = ‘ marked  ’ and  ‘ literate  ’)  is  palpa- 
ble.— She  means,  “you,  jester,  are  a rough 
stick  ; but  are  employed  on  work  (poetry)  as 
fine  as  gem- weighing  — that  is,  royal  favor 
gives  you  a chance  at  ‘ high  art  ’ : while  with 
me  the  case  is  reversed.” 

Karna : karna,  as  appellative,  means 

‘ ear.’ 

® Hasta  : hasta  means  also  ‘ hand.’  See 
p.  214. 

® Compare  BR.  vii.  1330,  under  k). 

’’  That  is,  “to  the  devil  knows  where  !’’ 


233] 


Act  First. 


— i.  2031 


Jester.  [^Turning  his  head  to  look  back.^  And  you  — to  where  my 
mother’s  first  set  of  teeth  went.^  [25]  Here’s  luck  to  such  a royal  court 
as  this,  where  a hussy  appears  [to  be  set]  on  a par  with  a Brahman, 
where  strong  drink  and  the  five  products  of  the  [sacred]  cow  are  put  in 
one  and  the  same  dish,  where  glass  and  ruby  are  employed  together  on 
the  [same]  parure.  [26] 

ViCHAKSHANA.  Ill  this  royal  court  may  you  have  that^  put  on  your 
neck  [namely,  a half- wring,  as  we  might  say],  which  the  Exalted  Triple- 
eyed God  [9i'"i]  'vears  on  his  head  [namely,  the  half-ring  of  the  moon]  ; 
and  may  your  head  be  well  bruised  by  that  [namely,  the  touch  of  a foot] 
by  which®  the  longings  of  the  aQoka  tree  are  satisfied  [namely,  the  touch 
of  a maiden’s  foot].  [27] 

Jester.  Ila,  you  slave-girl’s  child,  you  terror  of  the  gambling-hells, 
you  wholesale  polluter  of  young  men,^  you  street- walker!  that’s  the  way 
you  talk  to  me,  [is  it?]  well  then,  as  sure  as  I’m  a great  Brahman,®  you 
shall  get  that  by  which,  about  February  or  March,  the  longings®  of  the 
horse-radish  tree^  are  satisfied  ; and  that  which  a strong  but  lazy  bull 
gets  from  the  outcastes.  8 [29] 

ViCHAKSHANA.  While  I,  if  you  go  rattling  on  that  way,  like  the 
[jingling]  bangles  on  my  foot,®  with  my  foot  I’ll  smash  your  face.  And 


1 “ To  the  devil  knows  where.” 

* The  ardha-candra,  literally,  ‘ half- 
moon,’ serves  as  Qiva’s  diadem  (cp.  i.  3*)  ; 
but  the  word  means  also  ’ the  hand  bent  like 
the  crescent  moon  for  clutching.’  ‘ To  (give, 
i.e.)  put  a half -moon  on  a man’s  neck’  = ‘ to 
wring  his  neck.’ 

* Literally,  ‘ by  which  the  a§oka  tree 
gets  its  dohada : ’ dohada,  ‘ the  whimsical 
longing  of  a pregnant  woman,’  is  here  the 
desire  of  the  budding  tree  to  bloom.  This  is 
accomplished  by  the  touch  of  a fair  maid’s 
foot.  The  “touch”  as  applied  to  the  jester 
would  be  a rude  kick. 

The  a5oka  is  one  of  the  loveliest  of  Indian 
trees.  It  blooms  at  the  beginning  of  the  hot 
weather,  say  the  botanists ; when  touched  by 
a fair  maiden’s  foot,  say  the  poets.  — The 
latter  have  very  much  to  say  about  it ; com- 
pare ii.  43,  below,  and  Vasudeva’s  Scholiou 
thereto,  and  see  especially  ii.  47.  Indeed, 
the  Sahitya-darpana  makes  the  matter  to  be 
one  of  “common  notoriety”  — see  no.  576, 


under  khyati-  . . . viruddhata,  and  p.  228 
end.  See  also  Paul  Elmer  More’s  “ Century  of 
Indian  Epigrams,”  no.  XI ; and  Spruche,6693, 
raktagoka,  a stanza  which  some  Mss.  imsert  in 
the  Vikramorva5i  immediately  after  raktaka- 
damba,  iv.  30.  The  flowers  are  of  a beautiful 
orange  color,  changing  gradually  to  red. 

* Seems  to  mean  the  same  as  para-putta- 
vit^lini,  i.  18®.  — But  Vasudeva,  p.  17i®,  ex- 
plains it  as  ‘ getting  your  living  by  perjury,’ 
taking  kosa  as  ‘false  oath.’ 

® ‘ By  the  word  of  me,  a great  Brahman.’ 

® Sarcastically  here. 

’ Moringa  pterygosperma,  called  dahga- 
mnla  at  Rajanighantu,  p.  142,  Poona.  The 
bulbs  are  cut  up  for  a pungent  sauce  and  the 
limbs  are  tom  off  for  their  flowers. 

* A cut  in  his  nose,  for  the  insertion  of  a 
nose-ring  (cp.  Manwaring,  Marathi  Proverbs, 
no.  201).  — Cp.  Hemachaudra,  1268,  and 
Marathi  baila.  — For  ablative,  see  p.  203. 

® The  point  of  comparison  between  the 
jester  and  the  bangles  is  the  senseless  noise 


i.  2031  — 


Tramlation. 


[234 


what’s  more,  I’ll  tear  off  from  you  the  pair  of  parts  [your  ears]  that  go 
by  the  name  of  the  asterism  ^ that  follows  Latter  Ashadha,  and  chuck  ’em 
away.  [31] 

Jester.  [ Walking  testily  about  the  stage  — then  in  a rather  loud  voice, 
behind  the  curtain — ] Commend  me  to  such  a royal  court  as  this  — when^ 
it’s  a devil  of  a way  off  ! [a  court]  where  a slave-girl  sets  up  a rivalry  with 
a Brahman!  Well,  from  this  day  on,  I propose  — obediently  paying  my 
humble  duty  to  my  worshipful  spouse  Vasumdhara  — to  stay  just  at  home! 
[Laughter  all  round.^  [35] 

Queen.  What  sort  of  fun  can  we  have  without  our  worthy  Kapiii- 
jala  ? [or]  how  adorn  our  eyes  beautifully  without  collyrium  ? [36] 

Jester.  [From  the  tiring  room.~\  Oh  no,  you  won’t  get  me  to  come 
back,  not  by  a long  shot!  better  look  out  for  somebody  else  to  be  your 
“ old  man  ” : or  perhaps  you  might  put  this  mean  little  Avench  in  my  place, 
after  giving  her  a mask  Avith  a long  beard,  and  aAvful  ears.®  — I’m  the  only 
one  among  you  that’s  dead  and  done  for;  but  you  — here’s  life  to  you  for 
a hundred,  years!  [41  ] 

ViCHAKSHANA.  Don’t  try  to  make  up  with^  the  Brahman  Kapiiijala: 
conciliation  only  makes  him  all  the  harsher,  just  as  sprinkling  Avater  on  a 
knot  in  a hempen  rope  makes  it  all  the  tighter.  [43] 

Queen.  [Looking  in  every  direction  around  Aer.]  For  that  the  God 
of  Day,  resting  his  glance  on  the  unsteady  swings  that  are  tossed  to  and 
fro  by  the  feet  of  the  singing  wives  of  the  herdsmen,  driveth  his  car  Avith 
halting  coursers,®  — therefore  are  the  days  very,  very  long.®  21 

Jester.  [Reentering  hurriedly Give  place,  give  place ! ® 

King.  For  whom?® 

Jester.  Bhairavananda  is  standing  at  the  door. 


that  both  make.  Pada-lagga,  ‘attached  to 
my  foot  ’ = ‘ on  my  foot.’ 

1 Strictly  speaking,  Abhijit  (containing 
o Lyrae)  comes  next  after  Latter  Ashaclha, 
but  it  is  so  far  from  the  ecliptic  as  hardly  to 
count.  'Then  comes  Qravana:  ^ravana  means 
also  ‘ ear.’  See  p.  214,  and  Whitney’s  Essay 
on  the  Lunar  Zodiac,  there  cited,  pages  410, 
409,  and  .355. 

* Literally,  ‘ such  a court  is  praised 
when  ’ . . . , like  the  German  das  lobe  ich  mir. 

3 “ Ears  like  a bamboo  cup  ” — says  the 
Scholiast. 

^ I take  anu-sarndhedha  as  a Prakrit 


counterpart  of  anu-samdhayata,  from  sam- 
dhay  as  denominative  of  samdhi. 

3 Literally,  ‘ goes,  having  a limping-steed 
car,  a car  with  limping  steeds.’ 

® This  stanza  is  a covert  hint  (dhvanyate) 
at  the  fact  that  .she  greatly  misses  her  jester. 
— Scholiast. 

See  L6vi,  Theatre,  p.  374. 

® Although  this  English  phrase  means 
‘ make  way  or  room,’  it  is  perhaps  the 
nearest  feasible  equivalent  for  Avhat  is  liter- 
ally ‘ a seat,  a seat!  ’ 

® ‘ What  (purpose  is  there)  Avith  it  (the 
seat)?’ 


235] 


Act  First. 


— i.  24 


QuioiiX.  4'lie  one  who  is  popularly  reported  to  be  a wonderful  master 
magician  ? [s] 

Jesteu.  Yes,  to  be  sure. 

King.  Have  him  enter. 

[^The  Jester  goes  out,  and  reenters  with  the  Magician.'] 

BhAiravananda.  [.As  if  a little  boozi/.~\  ‘ 

As  for  black-book  ami  spell,  — they  may  all  go  to  hell  1 * 

My  teacher’s  excused  me  from  practice  for  trance.® 

With  drink  and  with  women  we  fare  mighty  well, 

As  on  — to  salvation  — we  merrily  dance ! ^ 22 

Moreover  : 

A fiery  young  wench  to  the  altar  I’ve  led.® 

Good  meat  I consume,  and  I guzzle  strong  drink; 

And  it  all  comes  as  alms,  — with  a pelt  for  my  bed. 

What  better  religion  could  any  one  think? ® 23 

And  again  : 

Gods  Vishnu  and  Brahm  and  the  others  may  preach 
Of  salvation  by  trance,  holy  rites,  and  the  Vedies.'' 

’Twas  Uma’s  fond  lover®  alone  that  could  teach 

Us  salvation  plus  brandy  plus  fun  with  the  ladies.  24 


1 See  A.  V.  W.  Jackson  on  tipsy  episodes 
in  plays,  Am.  J’n’l  of  Philology,  xix.  250. 

® Literally,  ‘ I know  nothing  of  ( = I 
ignore)  spells  [and]  Tantras.’  The  latter  I 
take  here  to  be  the  treatises  called  Tantras  — 
cp.  Aufrecht,  Bodleian  Catalogue,  91-95. 

s The  intent  contemplation  which  was 
very  anciently  and  widely  practised  in  order 
to  bring  on  a state  of  hypnotic  trance. 

* Literally,  ‘ unto  salvation  we  go,  follow- 
ing the  Kula  way.’  The  “ Kula  way  ” is  so 
called  because  its  followers  (Kaulas)  refer  to 
a Kula  Upanishad  as  scriptural  authority  for 
their  practices  (Williams).  — The  union  of 
the  male  principle  in  nature  with  the  female 
is  typified  in  the  androgynous  form  of  ()iva, 
in  which  the  right  side  is  male  and  the  left  is 
female.  The  latter  represents  the  personified 
‘Power’  of  nature  (§akti  = ‘power’),  and  her 
worshippers  are  called  Qaktas  or  Followers  of 
the  Left-hand  Way.  This  worship  degener- 
ated into  the  most  indescribable  licentious- 
ness. It  was  ostensibly  practised  in  order  to 
attain,  in  the  manner  prescribed  by  the 
Tantras,  the  supernatural  powers  such  as  the 


Magician  is  here  supposed  to  posse.ss.  — The 
reader  may  consult  Monier-Williams,  Brah- 
manism and  Hinduism,^  p.  180-186. 

For  the  doubtless  satirical  juxtaposition 
of  sensuality  and  salvation,  cp.  a lampoon  on 
the  Buddhists,  cited  by  Leumann,  Wiener 
Zeitschrift  fiir  die  Kunde  des  Morgenlandes, 
iii.  332,  which  I render  as  follows  : 

A good  soft  bed ; an  early  drink  on  rising  ; 
Dinner  at  noon  ; his  toddy  in  the  evening  ; 
Sweetmeats  at  night ; — to  crown  it  all,  salva^ 
tion! 

See  ? that’s  the  way  your  ()akya-son  would 
work  it! 

® ‘ A hot  strumpet  has  been  consecrated 
(see  diks)  as  lawful  wife.’ 

® Literally,  ‘ to  whom  does  the  Kaula  re- 
ligion not  appear  charming  ? ’ 

I have  assumed  “ Vedy”  (riming  with 
“lady”)  as  a colloquially  humorous  mispro- 
nunciation of  “Veda,”  the  name  of  the 
oldest  holy  scripture  of  India.  It  will  seem 
natural  enough  to  any  Yankee. 

® (^iva,  as  god  of  the  Left-hand  Qaktas. 


i.  241  — 


Translation. 


[236 


King.  Here  is  a seat.  Let  Bliairavananda  take  it. 

Bhairavananda.  [^Seating  himself  What’ll  you  have  me  do  ? 

King.  Glad  to  see  a wonder  in  ’most  any  line  you  please. 

Bhairavananda. 

I can  bring  down  the  moon  to  the  ground 
And  show  you  its  rabbit-face  ^ round. 

The  car  of  the  sun  I can  stop  in  mid-sky. 

Wives  of  sprites,  gods,  or  Siddhas  through  heaven  that  fly, 

Or  of  Civa’s  retainers,  — I fetch  ’em  anigh. 

Lord  knows  what  on  earth  I can’t  do  if  I try.  25 

So  tell  me  what  you’ll  have  done. 

King.  \Looking  at  the  Jester. ~\  Say,  man,  has  a peerless  gem  of  a 
woman  been  seen  ^ anywhere  ? 

Jester.  There  is  here  in  the  Deccan®  a town  named  Vidarbha.  There 
I have  seen  one  gem  of  a girl.  Her  let  him  “fetch  anigh”  [to  us]  here.  [7] 

Bhairavananda.  I am  fetching  her  anigh. 

King.  Bring  down  the  full  moon^  to  the  ground. 

IBhairavdnanda  represents  in  pantomime  ^ the  practice  for  trance.~\  [10] 

[Then  enters,  with  a hurried  toss  of  the  curtain,  the  Heroine.  — All  gaze."]  [12] 

King.  Oh,  wonderful,  wonderful ! 

Since  the  tips  of  her  curly  locks  yet  stick  to  her  face,  since  her  eyes 
are  red  with  the  washed-off  collyrium,  since  drops  are  a-tremble  on  the 
massy  tresses  she  holds  in  her  hand,®  since  she  has  but  a single  garment 
and  that  but  half  put  on,'^  — therefore  I think  this  girl,  who  alone  can  fill 
me  with  wonder,®  was  busied  with  her  play  in  the  bath  ® [at  the  moment 
when  she  was]  “ fetched  anigh  ” by  yonder  master  Magician.  26 

And  again: 

With  one  lily -hand  arranging  the  border  of  the  garment  that  falls  on 


1 The  Hindu  sees,  not  a “man  in  the 
moon,”  but  a rabbit  (cp.  H.  C.  Warren, 
Buddhism  in  Translations,  p.  274),  or  a black- 
antelope  (cp.  note  to  ii.  20  below). 

2 We  miss  the  tae  or  tue  (‘have  you 
seen’)  which  appears  in  the  variants,  and  is 
answered  by  mae,  i.  25®. 

® See  page  21.3. 

* Literally,  ‘ the  moon  on  the  night 
of  the  full,’  — in  palpable  allusion  to  the 
first  line  of  the  Magician’s  stanza  (25),  but 


with  covert  allusion  to  any  full-moon-faced 
beauty  whom  the  king  would  be  glad  now  to 
see. 

s See  L6vi,  Theatre,  p.  387. 

® Literally,  ‘ hand-supported  mass  of 
sprays  of  hair.’ 

''  ‘ Since  a single  garment-border  (or  gar- 
ment^skirt)  has  been  put  on.’  — She  had  no 
time  to  put  it  all  on  properly. 

® Literally,  ‘ sole-producer  of  marvels.  ’ 

® Cp.  ii.  24  and  note  to  ii.  24®. 


237] 


Act  First. 


— i.  29 


her  rounded  breasts  so  firm,^  with  the  other  restraining  ^ the  sari  ^ that 
flutters  as  she  walks, ^ — who  in  a picture  could  her  grace  portray  ? ® 27 

Jester.  For  her  bath  she  had  doffed  her  ample  parure.  Her  adorn- 
ments were  spoiled  by  the  breaking  of  the  waves.®  Her  slender  form 
shows  neath  her  dripping  vesture.'^  This  maiden’s  glance  is  the  sum  and 
substance  of  loveliness.  28 

Heroine.  [As  she  looks  at  them  all  — aside.~\  That  this  is  some  great 
King  is  made  manifest  by  the  way  in  which  he  plainly  unites  the  graces 
of  dignity  and  charm.®  Of  this  one. too  I have  an  opinion,  [namely,]  that 
she  is  his  First-Queen  — you  don’t  need  to  be  told,  in  order  to  recognize 
Gaurl®  at  the  left  side  of  the  Half-woman  God.^®  And  this  is  the  master 
Magician.  [5]  Here  again  are  the  attendants.  [Stops  to  reflect.'^  Then 
why  does  his  look  seem  to  make  so  much  of  me,  even  in  the  presence  of 
his  wife?  [/S'o  saying,  she  gives  a coquettish  glance.^^'\  [9] 

Klng.  [Aside — to  the  Jester. When  she  suddenly,  past  my  ear,  shot 
a sidelong  glance  sharply  flashing,  [a  flashing  glance]  whose  brilliancy 
was  like  that  of  the  cavities  of  the  petals  on  the  tips  of  the  ketakas  where 
the  bee  sucks,^  — then  was  I whitened  surely  with  the  best  of  camphor 


' Literally,  ‘ on  her  firm-breast-hills  ’ : 
thala  is  used  of  parts  of  the  body  which  may 
be  considered  as  raised  or  elevated  or  pro- 
jecting or  rounded  above  or  beyond  its  general 
surface  — so  of  buttocks  (ii.  1*),  of  cheeks,  of 
breasts.  Cp.  BR.,  s.v.  sthala  (3»,  4»). 

2 Dr.  Konow  books  the  word,  of  course, 
under  root  yam. 

* The  kadilla  (defined  by  HD.  as  kati- 
vastra)  is  doubtless  the  sari  (or  saree  or  sary), 
a long  piece  of  silk  or  cotton  wrapped  about 
the  hips,  with  one  end  falling  nearly  to  the 
feet  and  the  other  thrown  over  the  head,  and 
here  the  same  as  the  potta  or  ‘garment’  of 
line  b — since  she  wore  but  “ one.” 

* Literally,  ‘ the  kacHlla  which  was  moved 
(from  the,  i.e.)  by  the  walking,’  cankramana- 
tas,  Whitney,  § 1098. 

® Literally,  ‘ she  is  not  portrayed  in  any 
one’s  picture.’ 

® Of  the  pool  or  river  in  which  she  had 
been  bathing. 

’ Literally,  (the  glance  of  this  one) 
‘ having  a body-liana  (laa)  coming  into  sight 
(ullasin)  from  her  dripping  vesture,’  oll- 
ansua-uUasi-tanu-llaae  : or,  uUasin  might  be 


‘ radiant,’  i.e.  ‘ radiantly  beautiful  ’ — see  BR. 
under  las  -|-  ud. 

® Literally,  ‘ This  one  is  known  as  a king 
by  this  (imina)  profound-and-charming  grace- 
union.’  Here  imina  means  ‘ this  which  you 
plainly  see,  this  plain  or  manifest  ’ (union), 
reminding  us  a little  of  Latin  ille.  As  used 
of  the  character,  gambhira  is  ‘ deep,  solemn, 
dignified.’ 

s Literally,  ‘ Gauri,  even  untold,  is 
known  : ’ — and  it’s  just  as  easy,  even  with- 
out help,  to  recognize  the  Queen. 

See  note  to  i.  22<*. 

u Vasudeva  defines  try-agram  as  tiryag- 
udancitam,  (she  looks  a look)  ‘ bent  sideways.’ 
The  king  refers  to  this  glance  at  ii.  I"*.  — See 
notes  on  the  coquettish  glance,  ii.  6“,  iii.  2‘*. 

Literally,  ‘ when  a sharp  sideglance- 
flash  was  shot  ear-nigh  suddenly,  — [a  flash] 
possessing  brilliancy  (chavi)  like  [that  of] 
bee-sucked  ketaka-tip-petal  cavities.’  I take 
sav-  as  ‘with  an  ear-interval,’  not  hitting. 
Kataksachata  occurs  in  the  2d  example  to 
Sahitya-darpana,  no.  100,  cited  by  BR.  ii. 
1072.  The  pple  aad(Hiia,  ‘pulled  at  ’ by  bees, 
is  booked  under  krs  -f  a. 


i.  29  — 


Translation. 


[238 


(karpura)^  bathed  surely  with  moonlight.  Meantime  I am  become  over- 
laid as  it  Avere  with  dense  pearl-dust.  29 

[yls  before,  aside  — to  the  Jester.'] 

Oh,  the  splendor  of  her  beauty! 

Methinks  her  waist,  circled  with  triple  folds,  were  easily  grasped  even 
by  a baby’s  fist,  Avhile  to  compass  the  expanse  of  her  hips  is  not  possible’^ 
even  with  the  two  arms.®  A tender  child’s  hand  suggests  a comparison 
for  the  bigness  of  her  eyes.^  And  so  [by  reason  of  her  beauty],  it  is  not 
possible  in  a picture  to  portray  her  as  she  really  is.®  30 

Jester.  Albeit  her  adornments  are  stripped  off  for  the  bath  and  her 
cosmetics  are  washed  away  by  it,  [yet]  how  loA^ely  she  is ! or  rather,  let 
me  say. 

Even  women  avIio  are  devoid  of  [natural]  beauty  put  on  adornments, 
[for]  they  win  a certain  comeliness  by  such  embellishment ; [hut]  adorn- 
ments make  the  comeliness  even  of  a person  who  is  naturally  handsome  to 
unfold  itself  [to  still  greater  beauty].®  31 

King.  That’s  true  of  this  girl,  at  any  rate.  For 
Her  loveliness  is  like  to  gold,  untarnished,  unalloyed."  Her  almond- 
eyes  reach  even  to  her  ears.®  The  expanse  of  her  cheeks  is  like  to 
the  full-orbed  moon.  That  she  is  under  the  protection  of  the  Five- 
arrowed  God,  [who  guards  her]  with  bended  bow,®  [is  clear],  because 


1 Or,  with  a pun  of  which  the  King  is  not 
consciously  guilty,  ‘then  was  I irradiated 
with  love  for  Karpura  (-manjari).’ 

2 The  phrase  no  jai  (yati)  seems  to  he 
used  like  es  geht  nicht,  that  won't  go,  etc. 
‘ The  expanse  is  not  possible  to  be  embraced  ’ 
(vest).  For  the  use  of  the  infinitive  here  and 
in  d,  see  Jacobi,  § 116.  — “ Expanse  : ” cp.  i. 
32b. 

8 The  style  of  beauty  here  exaggeratedly 
described  is  abundantly  illustrated  by  the 
sculptures  of  ancient  Indian  monuments. 
'I'hey  out-Ruhens  Rubens  in  his  most  drastic 
avalanches  of  buttocks.  See  A.  Cunning- 
ham’s Bharhut,  Plate  xxiii.  Hindu  painters 
show  more  self-restraint  than  the  sculptors 
and  poets ; see  Griffiths,  i.  p.  9». 

* ‘ The  bigness  has  a compari.son  (given, 
i.e.)  suggested  by  the  hand.’  Cp.  i.  32*. 

b Paccakkham. 


® Literally,  ‘ even  of  a person  nature- 
handsome,  the  comeliness  opens  its  eyes  by 
[aid  of]  adornments.’  Repeated  at  ii.  25. 

’’  Literally,  ‘ gold,  new  (or  fresh)  and 
genuine.’  The  two  adjectives  are  not  with- 
out appropriateness  of  reference  to  girlish 
loveliness  also. 

® A .strange  hit  of  racial  psychology 
underlies  the  varying  national  ideals  of 
beauty  of  person  (cp.  note  to  ii.  46).  — Lit- 
erally, ‘ Of  her  eyes  the  length  is  brought  to 
a stop  (skhalitam,  ‘stumbled,  fallen,’ — or 
as  pple  of  the  causative)  by  her  ears.’  Cp.  i. 
16*  ; .30“= ; 34' ; ii.  27“.  Of  a handsome  young 
ascetic,  Bana  says,  “his  eyes  were  so  long 
that  he  seemed  to  wear  them  as  a chaplet,” 
Kadambarl,  p.  280.  See  Griffiths,  i.  8b. 

* Dhanuddanda  is  ‘ bow-stock  ; ’ hut 
stock  in  this  connection  (see  Century  Dic’y, 
s.v.  stock,  sense  9)  is  superfluous  in  Engli.sb. 


239] 


Act  First. 


— i.  34* 


his  arrows,*  “ Parcher,”  “ Bewilderer,”  and  the  rest,^  are  piercing  me 
through.  32 

Jesteu.  \_With  a s»u7e.]  The  wind  of  the  highway  knows  the  liana’s 
power  of  resistance.® 

King.  [^With  a smile.'\  I tell  you,  old  man  : 

The  embellishment  effected  by  their  own  manifold  excellences  makes 
handsome  the  person  of  women  ; * while  splendor  of  attire  seems  [rather] 
to  conceal®  their  beauty  of  form.  Accordingly,  for  those  on  whose  limbs 
is  imprinted  the  seal  of  a certain  loveliness,®  Cupid,  methinks,  with  bended 
bow,  stands  as  the  ever-ready  servant."  33 

Moreover  : Of  this  maiden 

The  spread  of  the  hips  is  such  that  no  creeper-like  girdle  is  on  them  ; 
the  breast-hills  are  so  towering  as  to  hide  from  her  sight  her  waist ; ® the 
eyes  are  so  long  that  there  is  no  [room  for  a]  lotus  on  her  ear  ; ® and  the 
face  beams  forth  with  such  radiance  that  it  seems  like  a second  moon  on 
the  night  of  full  moon.*®  34 

Queen.  Worthy  Kapinjala,  find  out  **  who  she  is. 

Jester.  [2b  the  Heroine.^  Come,  sweet-faced  girl,  sit  down  and  tell 
me  who  you  are. 

Queen.  A seat  for  her  ! 


Although  we  say  bovo-string  when  we  mean 
the  string,  we  say  simply  bow  when  we  mean 
the  boio-stock.  Cp.  vana-antare  etc. 

1 Literally  his  ‘ seekers.’  The  verb  is 
listed  under  vyadh. 

* Namely,  “Inflamer,”  “Ruiner,”  and 
“Crazer”  — samdipana,  uccatana,  unma- 
dana  : see  Uhle’s  Vetala,  p.  S**.  Or  cp. 
Mahegvara’s  comment  on  Amarakoga,  i.  1. 
27.  The  two  here  mentioned  are  punned 
upon  at  iii.  26,  see  note. 

® Sodirattana,  ‘ manliness,  pride,  self- 
respect.’  For  this  passage.  Dr.  Konow  sug- 
gests ‘power  of  resistance.’  Cupid  knows 
how  hard  it  is  to  conquer  the  King  and  so  is 
shooting  at  him  with  great  energy. 

I give  with  diffidence  the  following  inter- 
pretation : By  i.  32,  the  King  means,  “ Cupid 
guards  this  fascinating  girl,  and  I fear  I may 
not  win  her.”  “Never  fear,”  says  the 
Jester,  reassuringly ; “ the  wind  knows  how 
little  resistance  the  swaying  creeper  offers.” 


♦ ‘The  person  of  women  is  beautiful 
[when]  embellished  by  the  host  of  their  own 
excellences.’ 

^ In  Index  under  chad.  — Cp.  ii.  26,  27. 

« ‘ To  whose  limbs  a certain  imprint  of 
loveliness  is  gone.’ 

’ Ready  to  read  from  their  coquettish 
glances  their  unspoken  commands  and  to  en- 
thrall their  lovers  accordingly.  — Scholion. 

* Literally,  ‘ the  breast  elevation  (or 
prominence)  is  so  that  she  sees  not  her  navel 
at  all.’ 

® Cp.  note  to  i.  32'>. 

‘ And  so  outshining  is  the  face  that  the 
night  of  full  moon  [is]  possessing  two  moons.’ 
Raja^ekhara  repeats  this  idea  (see  p.  206)  in 
his  three  other  plays,  Viddh.  iii.  27,  Balar. 
iii.  25,  Balabh.  i.  31;  cp.  Qarngadhara  3659 
and  p.  189 : udancaya  mukham  manag ; 
bhavatu  ca  dvicandram  nabhah. 
n ‘ Know  thou  by  asking,’  ‘ irvdov.' 


i.  345  _ 


Translation. 


[240 


Jester.  Here  is  my  over-garment.  [5] 

[The  Jester  gives  the  Heroine  the  garment,  and  she  sits  down  upon  it.] 

Jester.  Now  tell  me. 

Heroine.  There  is  here  in  the  Deccan,  at  Kuntala,^  a king  named 
Vallabha-raja,  beloved  (vallabha)  by  all  his  people. 

Queen.  \_Aside,  to  herself.^  Yes,  and  he’s  my  aunt’s  husband.  [10] 

Heroine.  His  consort  is  named  ^agi-prabha. 

Queen.  \_Aside,  as  hefore.~\  And  she’s  my  mother’s  sister. 

Heroine.  [^Smiling.']  They  call  me  by  way  of  joke  [?]  their  “ bought 
daughter.”  [15] 

Queen.  [As^cZe.]  Such  splendor  of  beauty,  surely,  was  not  produced 
save  from  the  loins  of  ^agi-prabha ; nor  are  ^ pencils  of  precious  beryl,^ 
save  from  Beryl  Mountain.  [AZcwc?.]  You  are  Karpura-manjari,  aren’t 
you  ! [20]  \The  Heroine  stands  abashed.'\ 

Queen.  Come,  little  sister,  embrace  me.  [*S'o  saying  the  Queen  puts 
her  arms  around  /ter.] 

Heroine.  Oh  joy!  here  at  last  Karpura-manjari  has  begun  to  receive 
recognition  [24] 

Queen.  Today,  Bhairavananda,  by  your  kindness,  I have  been  made 
to  enjoy  an  uncommonly  neat  [but]  queer  little  arrangement  in  seeing 
[this]  little  sister.®  So  let  her  stay  now  for  a fortnight.  Afterwards 
you  shall  carry  ® her  back  by  your  magic  power. [27] 

Bhairavananda.  As  the  Queen  says. 

Jester.  [To  the  King.~\  Say  ! we’re  everlastingly®  — both  of  us  — 
left  out  in  the  cold,  you  and  I,  since  they  have  got  together  in  a cosey 
family  circle.®  For  these  two  women  are  “ little  sister  ” each  to  the  other  ; 


1 See  p.  213. 

* The  verbal  idea  in  each  of  these  two 
clauses  is  expressed  by  a derivative  of  the 
same  root  pad,  with  ud  or  with  nis. 

® Literally,  ‘beryl-gem-pencils.’  The 
beryl  occurs  in  hexagonal  prisms  ; hence  the 
appropriateness  of  the  word  “pencil.”  Some 
varieties  are  very  beautiful  (the  emerald  is 
one  of  them),  while  others  are  very  little 
worth  ; hence  the  need  of  the  word  “gem.” 

* Literally,  ‘ of  K.  this  is  the  first  saluta- 
tion : ’ but  if  put  thus,  it  might  imply  that  she 
is  glad  she  has  received  none  before. 

® Literally,  ‘ today  an  unprecedented 


(=  uncommonly  neat)  queer-little-arrange- 
ment  (=  saihvihanaa,  cp.  OB.  vii.  S'"),  with 
the  sight  of  the  little-sister,  has  been  caused 
by  your  kindness  to  be  enjoyed  by  me.’ 

® In  the  Prakrit,  the  verb  is  plural,  — 
“ honoris  causa,”  says  the  Scholiast. 

’’  Literally,  ‘ contemplation-car ; ’ that  is, 
the  supernatural  power  which  you  will  attain 
by  trance-practice  will  serve  you  to  carry 
her  home  through  the  air  to  Kuntala. 

* In  rendering  param,  I venture  to  use 
this  English  vulgarism  because  it  suits  the 
Jester. 

•‘Since  of  them  (Queen,  Heroine,  Vi- 


241] 


Act  First. 


— i.  35 


wliile  Bhairavananda  is  praised  and  made  much  of  for  bringing  them  to- 
gether. [33]  And  here  a terrestrial  Goddess  of  Speech,  a go-between, 
[is  parading  about,]  reincarnated  as  a downright  Queen. ^ [34] 

Queen.  Vichakshana,  to  Bhriiravananda  must  be  shown  every  atten- 
tion his  lieart  can  wish,  and  you  may  go  to  your  eldest  sister,  Sulakshana, 
and  tell  her  so.  2 [35] 

Vichakshana.  As  the  Queen  commands. 

Queen.  [jTo  the  King.'\  IMy  lord,  pray  let  me  take  my  leave  for 
you  see  the  state  the  little  sister  is  in,^  and  I’m  going  to  the  women’s 
apartments  ® to  arrange  her  attire  with  beauty  and  grace.  [38] 

King.  [Of  course  you  may  go  ; for]  it  is  quite  proper  to  fill  the 
runnels  about  the  roots  of  the  champaka  creeper  with  musk  and 
camphor.® 

Fikst  Baud.  {^Behind  the  stage.~\  May  twilight  bring  its  gladness 
to  my  King.  [4l] 

The  hot-rayed  sun’s  round  orb,  like  to  the  body  ~ of  the  soul  of  day,  — 
who  knows  where  that  in  all  the  world  is  gone,®  now  that  the  time  for 
day  to  die®  is  come  ? And  even  this  lotus-pool,^®  as  if  her  eyes  were  sealed 
in  a swoon  on  hearing  of  the  long  separation  [that  awaits  her,]  now  that  her 
lord  is  departed,  hath  shut  fast  the  lids  of  all  her  lily-eyes. 35 


chakshana,  and  Magician)  there  is  an  assem- 
bled family.’ 

1 Dr.  Konow  refers  the  allusion  (sarcas- 
tic, says  the  Scholiast)  of  this  sentence  to 
Vichakshana,  comparing  ii.  10* ; and  takes 
dehantarena  with  devi,  as  the  reading  of  W 
suggests.  It  vexes  the  Jester  to  see  Vi- 
chakshana so  honored. 

* ‘Attention  is  to  he  paid  . . .,  telling 
your  sister.’ 

® See  Index,  under  is. 

* ‘ I am  going  ...  on  account  of  the 
beauty  and  grace  of  attire  of  the  little  sister 
who  has  this  condition,’  which  you  plainly 
see.  — She  had  been  snatched  from  the  bath 
by  the  Magician  (cp.  i.  26  and  28). 

* The  action  is  taken  up  again  at  ii.  11*. 

® The  Scholiast  takes  this  as  a case  of 

samasa-ukti,  citing  for  it  Kavya-prakaga^ 
X.  97,  p.  671,  Bombay  ed.,  — cp.  Sahitya- 
darpana,  p.  309i°-u,  transl.,  p.  398.  The 
“champaka  creeper’’  suggests  a slender, 
lovely  woman,  — here  the  Heroine.  It  is 


proper  to  bestow  thereon  all  needful  atten- 
tion. 

’Taking  pinda  as  ‘body’;  but  Dr. 
Konow  takes  jiva-pinda  as  ‘Lebens-masse,’ 
‘ Lebens-hauch.’ 

* Literally,  ‘ who  knows  where  (kahim) 
in  the  world  (pi)  that  is  gone  ? ’ — In  other 
words,  I think  that  pi,  although  adding  an 
indefinite  idea  to  the  interrogative,  dues  not 
convert  the  interrogative  into  an  indefinite 
(‘somewhere  ’)  in  this  passage. 

® ‘ The  occasion  for  the  death  (kala)  [of 
the  day]  having  arrived’  (ap)  : Vasudeva, 
“ sayaihsamaye.’’ 

In  Prakrit  this  is  feminine  (nalini), 
and  so  I refer  to  it  by  the  feminine  pronoim 
in  English.  — Literally,  ‘ the  pool  has  become 
(jaa,  xmder  jan)  having  lilies  shut  (“  shut,’’ 
as  used  of  the  eyes).’  — Souna,  vuider  gru, 
Jacobi,  § 61. 

The  pool  (feminine)  of  day-blooming 
lotuses  closes  her  “eyes”  (the  blossoms  on 
her  “ face  ”)  in  a swoon  of  grief  when  her 


i.  36  — 


Translation. 


[242 


Second  Bard. 

Opened  [now]  for  our  pleasure  are  jewelled  roof-terraces  and  the 
picture-galleries.^  By  the  attendants,  couches,  delightful  in  the  starlight,^ 
are  hastily®  spread.  Silks  begin  to  rustle  as  the  fingers  of  the  restless 
hands  of  the  ladies  in  waiting  move  over  them.*  The  pleasant  murmur 
of  the  voices  of  women  who  have  made  up  their  quarrels®  is  heard  in  the 
arbors.  36 

King.  And  we  will  go  to  our  evening  worship.® 

\_At  these  words,  exeunt  omnes.'\ 

[End  of  the  First  Act.'\ 


beloved  lord  (the  sun)  leaves  her.  The  sun’s 
departure  is  hinted  at  in  the  first  half-stanza ; 
and  the  second  half-stanza  is  of  course  in 
clear  allegorical  allusion  to  the  Heroine,  and 
to  her  grief  at  being  separated  from  the  King. 
— This  is  a case  of  “transfer”  (samadhi, 
Kavyadar^a,  i.  93):  “because  the  ways  of 
the  Heroine  are  here  transferred  to  the  lotus- 
pool,”  says  the  Scholiast.  For  day-blooming 
and  night-blooming  lotuses,  see  note  to  ii.  50, 
with  which  stanza  this  may  be  compared. 

1 ‘ The  pleasure-terraces-and-galleries.’ — 
Such  places  serve  as  rendezvous  for  lovers, 


says  the  Scholiast.  Open  roofs  are  much 
used  in  the  East  as  a kind  of  pleasance  at 
night.  With  Vasudeva,  I take  citta-bhitti- 
nivesa  as  = citra-grhas. 

2 ‘In  the  star-time.’ 

® “ Hastily : ” there  is  scarcely  any  twi- 
light in  Southern  India. — See  root  str. 

* ‘ The  sound  (rustle)  of  silk  has  begun 
by  reason  of  the  moving  of  the  fingers  ’ etc. 

® ‘ The  hum  of  women  angry  and  tran- 
quillized.’ 

« ‘ To  pay  worship,  [namely,  our]  even- 
ing-prayer,’ somewhat  like  Ayuvl^eaBai  TrdXijv. 


ACT  II. 


[Then  enter  the  King  and  the  Porteress.~\ 

PORTEiiESS.  [ Walking  around  a hit  on  the  stage.']  This  way,  this  way, 
O King  ! 

King.  [^Takes  several  steps,  and  then,  with  his  thoughts  on  her  — 

On  that  occasion  2 

Not  from  their  places®  moved  even  the  breadth  of  a sesamum  seed  her 
fair  rounded  buttocks ; * her  belly  seemed  as  if  slightly  overflowing  with 
wavy  folds ; ® her  neck  she  bent  aside  ; while  the  braided  tress,  that  from 
her  moon-like  face  did  stray,®  was  clasped  within  the  folding  of  her 
breasts  : ^ [thus]  in  fourfold  wise  her  slender  form  she  showed,  as  on  me 
sideways  she  her  glance  did  bend.®  1 

PoRTERESS.  [To  herself,  aside.]  How  now  — even  today  — piling  up 
the  same  old  palm-leaves  ? — the  same  old  stock  phrases  ? ® — W ell,  1 must 
sing  the  praises  of  spring-time  to  him  and  so  slacken  his  passion  for  her. 
[AZowti.]  Contemplate,  O King,  the  flowery  season,^®  which  is  very  gently 
coming  on.  n [5] 

[Now]  are  lengthening  the  days  that  break  completely  the  seal  of  the 
throat  of  the  cuckoo’s  mate,  that  make  the  bees  to  hum  with  sweetness 


1 That  is,  of  course,  on  the  heroine.  Sup- 
ply “says.” 

* The  occasion  described  at  i.  28®,  when 
she  gave  him  the  coquettish  glance  which  he 
now  recalls  in  line  d. 

® For  the  form  of  the  ablative,  see  H.  3. 9. 

* Properly,  ‘ well-conditioned  buttock- 
hill’ — cp.  i.  27>>,  note. 

® ‘ (Was)  possessing  slightly  overflowing 
fold-waves.’  Cp.  ii.  6>>. 

® ‘The  braid  in  straying  from  her  face- 
moon;’  or  ‘the  braid,  in  the  nodding  to  and 
fro  of  her  face-moon : ’ either  veni  or  anan- 
endu  might  be  the  subject  of  bhamana. 

‘By  her  braid  a breast-embrace  was 

got.’ 


® ‘ Of  her,  looking-coquettishly  at  me,  the 
body -liana  became  (Jan)  having-four-dLsposals 
or  -arrangings  (-vidha)  : ’ that  is,  four  dispo- 
sitions or  attitudes  of  as  many  parts  of  her 
liana-like  body  presented  themselves  to  my 
notice  as  she  glanced  etc. 

* ‘ The  same  piling  together  of  palm- 
leaves,  the  same  word-series  : ’ proverbial 
equivalent  for  threshing  the  same  old  straw. 

‘Give  a glance  at  the  flowery  season.’ 
The  Scholiast  seems  to  think  the  form  of  ex- 
pression a little  forced.  And  I certainly  do. 

‘ Which  is  maturing  a very  little.’  This 
is  vague  as  a time-datum  ; but  the  statement 
at  ii.  6®®  seems  more  definite. 

12  See  i.  4>>  note.  Cp.  also  p.  203. 


243 


ii.  2 — 


Translation. 


[244 


long  drawn  outd  that  among  forsaken  lovers  waken  anew  the  Panchama 
note, 2 the  king  of  melodies,  — [the  days  that  are]  crazy  with  passion,  [days 
that  are]  the  abodes  of  the  troops  of  loves.  2 

King.  [Giving  no  ear  to  it.  — In  impassioned  style.~\ 

When,  to  the  eyes  of  all  in  the  place  of  assembly,  she  appeared  as® 
an  abounding  stream  of  loveliness,  as  a city  of  the  manifold  dwellings  of 
laughter  and  amorous  delight,^  as  a paragon  ® of  comeliness,  as  a lake  whose 
blue  lotuses  were  eyes,  but  withal  as  the  enlivener  of  my  passion,  — then 
did  Cupid  fix  a sharp  piercing  arrow  on  the  string  of  his  bow.®  3 

[.4s  if  crazed  with  love.~\  From  the  very  instant  that  I first  saw  her, — 
the  fawn-eyed  girl,  — 

If  I paint  a picture,  she  flashes  forth  upon  it ; ® she  falls  not  short 
in  [any]  excellencies  ; ® on  [my]  couch,  [meseems,]  she  slumbers  ; but  I 
see  her  face  like  a full-blown  flower  in  every  quarter  of  the  sky;  of  my 
talk  she  is  the  subject ; of  my  verses,  she  the  theme  ; from  my  brooding 
thoughts  ne’er  parted^®  for  long  is  the  tender  wanton  maid.^®  4 

And  again  : 

They  whom  the  coquettish  half-glance  of  her  piercing  restless  eye  hath 
smit,^*  will  [soon]  to  death  be  done  by  koil’s  note  and  spring  and  moon 


1 ‘ Giving  a prolonged  quality  of  sweet- 
ness to  the  hum  of  the  bees.’ 

® ‘ That  set  agoing  (sam-car,  cans.)  the 
Pafichama  note.’  Cp.  i.  16®;  also  Qarnga- 
dhara’s  Paddhati,  no.  2048  (in  the  season  of 
flowers,  the  koil  utters  the  fifth  or  Panchama 
note,  our  G ; the  frog,  A ; the  elephant,  B). 

* ‘ When  she  became  the  beauty-stream 
(of  the  eyes  of,  i.e.)  in  the  eyes  of  the  people 
of’  etc.  * Cp.  ii.  22*>. 

® I am  in  doubt  about  this  word.  And  the 
Scholia  are  not  fully  clear  to  me. 

® Punkha  is  the  arrow’s  notched  and 
feathered  end  which  is  fixed  on  the  string. 
(See  Raghuvauga  ii.  31.)  “The  arrow  was 
‘punkha-ed’  on  the  bow’’  means  “the 
arrow’s  notch  was  fixed  on  the  bow-string.’’ 
This  action  is  called  aamdhana.  So  iv.  20**. 

’’  Properly  ‘ gazelle-eyed.’  The  gazelle 
is  a small  and  graceful  antelope,  with  large 
liquid  eyes.  The  reader  should  see  the  beau- 
tiful pictures  of  P.  L.  Sclater  and  O.  Thomas’s 
Book  of  Antelopes,  London,  1894 — , if  he 
would  know  the  full  force  of  this  epithet. 

® ‘On  a picture  she  bursts  forth.’  If  I 


amuse  myself  with  painting,  my  pictures 
always  turn  out  to  be  portraits  of  her. 

® This  clause  seems  strangely  inept. 

‘ She  blossoms  out  [like  a flower]  in’  etc. 

‘ In  [my]  talk  she  is  present ; in  [my] 
poetry,  she  comes  forward  or  makes  her  ap- 
pearance or  (if  the  author  will  forgive  me) 
bobs  up.’ 

12  ‘ In  [my]  meditation,  not  separated  is  ’ 
etc. 

1®  Dr.  Konow  books  the  verbs  under  aphut, 
khuttai,  lott,  visattai  (Skt.  9at),  vrt,  trut ; 
see  his  references  to  Pischel’s  Hemachandra. 
Skt.  trut  is  ‘ to  part  ’ (intrans.) , as  we  say  of 
a rope.  Cp.  Marathi  tutanem,  and  Moles- 
worth,  p.  383b:  “whilst  of  modanem  the 
sense  is  ‘to  break,’  with  the  ever-inherent 
implication  of  destruction  of  form  or  state, 
the  sense  of  tutanem  is  ‘ to  break,’  with  the 
implication  of  parting  or  separating.’’ 

11  ‘ They  who  have  been  looked  at  (dittha) 
by  a third-part  of  her  eye.’  Cp.  HSla’s  Sap- 
tagataka,  no.  606. 

1®  Cp.  note  to  ii.  2<=  and  cp.  i.  10*.  Cp. 
Sahitya-darpana,  no.  216. 


245] 


Act  Second. 


ii.  6W 


and  love  ; ^ while  they  on  whom  hath  fallen  her  full  glance  ^ are  dead  and 
ready  for  our  last  farewells.®  5 

[.4s  if  lost  in  pensive  remembrance.^  And  again  : 

Before'*  her,  [flies]  a glance,  [like]  a line  of  bees,  [straight  and  sting- 
ing];®  while  [in  the  middle,®  or]  about  her  waist  there  is  a garland  of 
milk-white  wavy  folds  ; ^ and  behind  her  proceeds,  amid  her  coquettish 
peepings,  Cupid,  holding  his  bow  bent  so  nearly  round  that  the  string 
touches  his  ear.®  6 

[aS'^oj^s  to  tkink.l  ^ly  man  is  long  coming  back.  [2] 


[^Tke  Jester  and  Vichakshand  enter  and  tcalk  about.'\ 

Jester.  Say,  Vichakshana,  is  this  all  true? 

ViCHAKSHANA.  Yes,  it’s  all  true,  only  more  so.  [5] 

Jester.  I don’t  believe  you  — you  are  so  awful  funny  ! 

Vichakshana.  My  good  man,  don’t  talk  that  way:  there’s  one  time 
for  joking,  and  another  for  the  consideration  of  business. 

Jester.  [^Looking  before  7<m.]  Here’s  my  old  man,  as  out  of  spirits 
(imikka-mdnasay  as  a gander  that’s  quit  Lake  Manasa  (mukka-mdnasa'),^^ 
emaciated  with  the  fever-of-love  (jnada')  as  an  elephant  with  rut  (mada'). 


^ For  the  Moon  as  Love’s  ally,  see  Ka- 
dambari,  p.  559^*,  kusuma-^ara-sahayag  can- 
dramah.  Cp.  note  to  ill.  30. 

* ‘Full  look’  (ditthi),  in  contrast  with 
the  “third-part-look”  of  line  a. 

* ‘ Are  fit  for  the  gift  of  the  two  handfuls 
of  sesauium-water,’  the  customary  libation  to 
the  departed. 

* The  metaphoric  language  is  here  so 
“hold”  (praudha,  as  Vasudeva  justly  ob- 
serves), that  no  bare  English  version  suffices 
to  reprodvice  the  thought. 

“ ‘ Before  [her]  is  the  bee-row  of  her 
eyes.’  Kalidasa  speaks  (Meghaduta,  35)  of 
the  temple  girls  and  their  eyes,  “ Whose 
glances  gleam,  like  bees,  along  the  sky,”  a 
free  but  good  rendering  of  madhukara-greni- 
dirghan  kat^san.  This  last  is  precisely 
what  Rajagekhara  seems  here  to  have  in 
mind.  Coquettish  glances  may  reach  far,  like 
the  bee’s  long  flight ; are  straight  as  a “bee- 
line ; ” like  the  bees,  they  leave  a sting ; per- 
haps also  they  are  bright  as  the  bees’  shining 
wings,  for  bees  are  described  as  sphurant  or 
‘ flashing  ’ at  Spriiche,  1986d.  — See  H.  H. 


Wilson’s  comment  on  the  Meghaduta  passage ; 
cp.  Spriiche,  2463,  where  the  kataksa  is 
likened  to  a swarm  of  bees.  — See  iii.  2<*. 

The  “row”  or  “string”  (greni)  in 
which  the  wild  geese  fly  is  mentioned  even  in 
the  Rigveda  (iii.  8.  9)  ; and  a “string”  of 
bees  forms  the  “bow-string”  of  Cupid’s 
sugar-cane  bow  (Megh.,  71).  Bhinga-sarani 
is  here  about  the  same  as  bhramara-pankti 
or  madhnkara-greni.  — Correction  in  proof  : 
Konow  takes  bhinga-sarani  here  rather  as 
the  dark  eyebrows. 

6 “Before,”  “in  the  middle,”  and  “be- 
hind ” are  in  evident  contrast,  — majjhe,  with 
double  meaning,  signifying  here  ‘ on  her  belly.’ 

’’  ‘ There  is  a boiled-milk  wave-garland  ’ 
— cp.  ii.  I**  note.  See  kvath  in  Index. 

® ‘Holding  his  bow  rounded  to  the  ear.’ 
See  under  a.  — Cp.  iv.  20<*. 

9 Here  is  a series  of  elaborate  puns. 

19  His  true  and  glorious  home  in  the 
HimMayas,  in  order  to  return  (about  the  end 
of  November)  to  the  every-day  waters  of 
India  — seeC.  R.  L.  in  Journal  Am.  Or.  Soc’y, 
xix.,  p.  155-6. 


ii.  6^0  _ 


Translation. 


[246 


languishing  (mildnd)  from  his  violent  inner-ardor  ^ (^ghana-ghamma)  like 
a stick  of  lotus-root  wilted  (mildna')  in  the  strong  heat  (^ghana-ghammai), 
his  color  (cAdd)  lost  like  the  brightness  (^chdd}  of  a lamp  that  they  give 
you  by  day-time,  pale  and  wasted  (^paridura-parilchhlna)  like  the  moon 
which  is  pale  and  wasted  (p>andura-parikkhlnd)  [by  the  sun’s  splendor]  at 
day-break  at  the  end  of  the  night  of  the  fulL^  [lo] 

Both.  \_Stepping  about. Victory,  victory  to  the  King  ! 

King.  Man ! how  have  you  gone  so  far  as  even  again  to  meet 
Vichakshana? 

Jester.  This  time  Vichakshana  did  the  “going,”  for  she  came  to 
make  it  all  up  with  me.  And  when  she  had  made  up,  I stopped  to  talk 
with  her  till  ever  so  much  time  went  by.^  [l5] 

King.  “ Making  up  ! ” — what’s  the  use  ? 

Jester.  [The  use  is]  that  (^jatn)  here,  with  a letter  in  her  hand  ^ from 
a regular  little  dear,  is  — Vichakshana ! [i7] 

King.  \^Acting  as  if  he  noticed  a pleasant  odor.^  It  seems  to  me  as  if 
I smelt  the  fragrance  of  ketaka  blossoms. 

Vichakshana.  Here  in  my  hand  is  a letter  on  ketaka  flower- 
leaves.  [20] 

King.  How  do  there  come  to  be  ketaka  flowers  in  March  ? ® 
Vichakshana.  Bhairavananda  has  imparted  to  us  a spell  by  whose 
power  one  blossom  already  has  been  made  to  appear  on  the  ketaka-stock 
in  the  Queen’s  palace-garden.  [22]  With  some  of  its  hollow  flower-leaves, 
today,  the  fourth  day  of  the  “ Swing-breaker,”  ® the  Queen  has  paid 


1 So,  despite  OB.,  s.v.  gharma,  end,  as 
against  BR.,  s.v.  gharma,  1,  end. 

2 ‘ Like  the  daybreak  full-moon-night 
moon.’  ® See  BR.  vi.  477  top. 

* See  A.  V.  Williams  Jackson’s  notes  on 
billets-doux  in  plays,  American  Journal  of 
of  Philology,  xix.  252.  Further  Interesting 
allusions  may  be  found  at  Kumara-sambhava, 
i.  7 ; and  in  Kadambarl,  p.  433«.  The  last  pas- 
sage speaks  of  scratching  a message  with  the 
finger  nails,  and,  as  here,  on  petals  of  ketaki. 

® ' In  Madhu,’  the  older  name  of  Chaitra 
= March-April : see  Whitney,  JAOS.  vi.  413- 
4.  The  Screw-pine  or  ketaka  does  not  flower 
till  the  rainy  season,  says  Roxburgh,  p.  707, 
i.e.,  some  three  months  later.  Roxburgh  adds : 
“The  tender  white  leaves  of  the  flowers  . . . 
yield  that  most  delightful  fragrance  . . . ; of 


all  the  perfumes  in  the  world  it  must  be  the 
richest  and  most  powerful.’’  See  Pandanus 
in  Century  Dic’y,  and  note  to  iv.  21''.  Also 
Griffiths,  i.  p.  36*>,  and  pi.  63. 

® There  are  various  Swing  festivals.  The 
most  famous  is  the  dola-yatra  (culminating 
with  the  Phalguna  full  moon),  during  which 
images  of  Krishna  are  placed  on  a swing  and 
swung.  The  weight  of  the  idols  often  broke 
the  swing : hence  the  name  in  the  text.  — 
Again,  on  the  eleventh  of  the  bright  half  of 
Chaitra,  Vishnu  and  Lakshmi  are  swung.  — 
The  context  of  the  passage  before  us  (cp.  ii. 
296)  indicates  that  here  the  Swing  festival  of 
Gauri  (and  Qiva)  is  intended,  the  gaurya 
dolotsava.  This  andolana-vrata  is  a rite 
observed  by  women  and  begins  on  the  third 
of  the  bright  half  of  Chftitra.  Herein  agree 


247] 


Act  Second. 


— ii.  8 


homage  to  Parvati,  the  beloved  of  ^iva.  And  again,  a couple  more  of  tliem 
she  has  [taken  and]  bestowed  as  a mark  of  favor  on  her  “little  sister,” 
Karpura-manjari.  And  the  latter  has  paid  homage  to  the  same  exalted 
GaurP  with  one  of  her  two  flower-leaves;  [25]  and  the  other 

Hollow  flower-leaf  of  the  ketaka  blossom  as  a present  to  you  your 
friend  hath  sent;  and  it  is  inscribed  with  a couplet ^ which  is  lovely  with 
its  words  (yanna^  [written]  in  musk-ink,  [or,  punning'\  which  is  lovely 
with  the  color  3 (yanna)  of  the  musk-ink.^  7 

[With  that,  she  hands  him  the  billet-doux.'] 

King.  [Opens  out^  (the  somewhat  folded  leaf)  and  reads  f<.] 

By  staining  a white  goose  with  saffron-paste  till  her  feathers  were 
ruddy  (^pihjara},  I suppose  (kila^  that  I cheated  her  gander  into  thinking 
“ She  must  be  the  mate  of  a Ruddy  Goose  ” (yakravdka).  To  pay  for  it 
now,  my  misdeed  is  making  me  to  know  misfortune,®  in  that  (^jena), 
although  near,"  thou  comest  not  within  range  of  even  my  half-glance.  8 


Hemadri,  the  Vratarka,  Nirnaya-sindhu,  and 
Dharma-sindhu.  See  p.  289  and  216. 

1 Parvati. 

* * And  it  (jam)  is  inscribed  with  a {loka- 
couplet,’  that  is,  a couplet  which  forms  a 
^loka  (=  stanza  8).  — With  this  interpreta- 
tion, each  of  the  two  members  of  the  couplet 
would  be  a half  of  stanza  8. — Otherwise,  we 
may  assume  that  siloa  is  used  as  equivalent  to 
“verse,”  and  with  the  same  looseness  as  in 
English,  and  meaning  ‘line’  or  ‘ half-stanza ’ 
here,  and  ‘ stanza  ’ at  ii.  8®,  9^. 

® Colored  chalks  and  brilliant  miniums 
(red  lead,  etc.)  were  used  as  surrogates  for 
ink.  At  Jataka,  iv.  489^^,  words  are  written 
on  a wall  with  vermilion  or  “native  cinna- 
bar,” jati-hingulaka.  Cp.  Horace,  Satires, 
ii.  7.  98.  See  Biihler,  Palaeography,  p.  92, 
93  ; and  my  note  to  iii.  18  below.  Any  color 
would  show  well  on  the  white  floral  leaves  of 
the  ketaka. 

* Ena-nahi,  ‘ antelope  navel,’  is  one  of 
the  many  names  for  ‘musk’  or  kasthrika. 
This  is  reddish-yellow,  overpowers  the  intense 
odor  of  ketakas,  and  provokes  even  elephants 
to  rut.  — Rajanighantu,  p.  100. 

In  the  same  volume,  p.  439,  sahasra- 
vedhin  is  said  to  he  a name  for  three  things, 
sorrel,  musk  (kasturika),  and  asafetida 
(hihgu).  The  last  is  a gum  from  the  Ferula 


alliacea.  It  may  he  that  the  drug  samhul  or 
sumbul,  the  musk-root  of  commerce  (a  prod- 
uct of  Ferula  Sumbul,  see  Ferula  and  sumbul 
in  Century  Dic’y),  which  is  a fair  substitute 
for  musk,  is  here  intended  instead  of  the 
genuine  animal  secretion,  and  that  it  was 
used  to  make  a colored  “ ink.”  This  is  the 
less  unlikely  since  the  radically  identical 
hihgu  and  hihgula  are  names,  one  for  the 
plant  and  the  other  for  the  pigment ! — If  not, 
then  we  must  render,  “lovely  with  the  ink- 
words  [or  ink-color]  and  lovely  with  musk”: 
in  this  case  it  is  not  incredible  that  the 
Heroine  added  a dash  of  the  drastic  perfume 
to  her  missive  to  make  sure  that  her  royal 
lover’s  passion  should  not  flag. 

® Or,  ‘reaches  his  hand  (sc.  karam)  for  it.’ 

® ‘Because  (jam)  her  husband  (tab- 
bhatta,  under  tad)  was  cheated  [into]  think- 
ing . . . [by  me],  making  (kr)  a female 
hahsa  [which  is  naturally  white]  [to  be] 
possessing  a saffron-paste-ruddy  body,  there- 
fore this  misdeed  of  mine  has  turned  out 
(pari-nam)  as  a teacher  of  misfortunes,’  etc. 
Her  misdeed,  like  bad  karma,  bears  appro- 
priate fruit  (JIanu  xii.  62)  in  a separation  like 
that  of  Ruddy  Goose  and  mate  (p.  262,  n.  3). 

’’  I.e.,  ‘in  the  same  palace’  : so  iv.  1>>. 
The  Queen  is  already  jealous  (cp.  ii.  29i*'), 
and  compels  this  separation  (cp.  ii.  9<=). 


ii.  81  — 


Translation. 


[248 


[^Reads  it  a second  and  a third  time.'\  These  words  indeed  are  an 
elixir  of  life  to  my  ears! 

ViCHAKSHANA.  I too  have  made  a stanza,  — a second  one,  which 
describes  the  plight  of  my  dear  friend,  — and  written  it  down.  Here  it  is. 

King.  [^Reads  it.'] 

At  endless  length,  like  to  her  days  and  nights,  her  [love-lorn]  sighs  go 
[slowly]  trooping  by.i  With  her  bejewelled  bracelets,^  fall  her  streams 
of  tears.  And  in  thy  absence,  O fair  lover,  the  hope  of  life  for  that 
dejected  maid  hath  grown  as  feeble  as  her  slender  form.  9 

ViCHAKSHANA.  [And]  here^  is  a stanza  about  her  plight,  composed 
by  my  elder  sister,  Sulakshana,  who  is  serving  her  as  lady  in  waiting: 
listen  to  this,  O King  I 

Her  sighs  escape  like  pearls  from  off  their  string,^  and  make  the  sandal 
to  wither.®  Hotly  her  body  burns  [with  love’s  fever].  The  beauty  of 
the  laugh  on  her  face  is  naught  save  a memory.®  Moreover,  the  pale  tint 
of  her  limbs  is  as  faint  as  the  moon’s  slender  sickle  by  day.  Ever  her 
floods  of  tears  for  thee,®  O fair  lover,  are  like  to  rivers.  10 

King.  [^Sighing.]  What  is  there  to  say  ? in  poetry  she’s  your  “elder 
sister,”  sure  enough. 

Jester.  This  Vichakshana  is  Goddess  of  Poetry  for  the  earth,  and 
her  “ elder  sister  ” is  Goddess  of  Poetry  for  the  three  worlds.  So  I’ll  set 
up  no  rivalry  with  them,  [s]  But  [as  I’m]  before  my  old  man.  I’ll 
describe,  with  such  words  as  befit  me,  the  longings  of  love. 

Vichakshana.  Recite.  We’re  listening. 

Jester.  Moonlight  ® is  excessively  hot,  like  to  poison  is  sandal-water, 


1 ‘ With  the  days  and  nights,  long  [are 
her]  sigh-columns.’  Her  sighs  are  like  an 
army,  passing  in  long  drawn  out  “ columns” 
(danda,  used  in  the  sense  of  danda-vyuha). 
Cp.  danda  at  iv.  11. 

2 The  bracelets  slip  from  her  arms  because 
she  is  so  emaciated  with  love’s  fever.  This 
is  a frequent  motif : see  Qakuntala,  st.  66 
(Williams)  or  67  (Pischel),  and  Meghaduta, 
2. — Kavya-prakaga,  x.  112,  p.  735,  Bombay, 
cites  this  stanza  to  illustrate  sahokti. 

8 The  function  of  jeva  is  slightly  to 
emphasize  the  gesture  which  distinguishes 
this  deictically  used  ettha  from  that  of  ii.  8’. 

< ‘Are  possessing  a pearl-string-like  es- 
cape.’ 


6 They  are  so  hot  that  they  (are  sandal- 
uccoda-causing,  i.e. ) shrivel  up  even  the  cool 
sandal.  Is  this  right  ? if  so,  the  juxtaposition 
of  the  pearls  is  incongruous.  Root  cut  is  said 
to  mean  ‘ become  small.’ 

8 ‘ Has  memory  as  its  refuge,’  has  need  to 
be  remembered  (cp.  Spriiche,  2263d),  since  it 
can  no  more  be  seen.  This  seems  to  me  to  be 
a distinct  reminiscence  of  Kalidasa’s  beautiful 
phrase  samsmaraniya-gobha,  Qak.,  near  be- 
ginning of  act  iv. 

Properly,  ‘ tender,  soft.’ 

* ‘ For  the  sake  of  thee,’  tuha  kae  = tava 
krte. 

® Moonlight,  sandal,  pearls,  night  winds, 
lotus-root,  and  water  are  all  refrigerants  or 


249] 


Act  Second. 


— ii.  14 


a pearl-necklace  is  like  caustic  potash  on  a wound,  the  night  winds  burn 
my  body,  a fibrous  lotus-root  bristles  like  arrows,*  and  ablaze  is  my  slim 
body,  albeit  wet  with  water,  — because  I’ve  seen  the  choicest  maid,  with 
lotus-face,  and  eyes  so  fair.  11 

King.  I say,  man,  you  too  need  rubbing  down  with  a drop  of  sandal- 
water  yourself.’* 

Accordingly,  tell  me  some  circumstance  about  her.  What  next  did 
the  Queen  do  with  her  after  taking  her®  to  the  women’s  apartments?  [3] 

Jester.  Vichaksbana,  you  tell  what  was  done. 

ViCHAKSHANA.  They  made  her  toilet,  sire,  and  decorated  her  with 
her  sectarial  mark  and  her  ornaments,  and  entertained  her.  [5] 

King.  How  so  ? 

ViCHAKSHANA.  Her  firm  limbs  were  anointed  with  paste  of  saffron- 
essence  until  they  were  yellow.® 

King.  That  was  burnishing  a golden  doll  till  it  was  beautifully 
bright.®  12 

ViCHAKSHANA.  Her  companions  put  on  her  feet  a pair^  of  emerald 
anklets. 

King.  That  was  surrounding  a pair  of  shamefaced  lotuses  with 
swarms  of  bees.®  13 

ViCHAKSHANA.  She  was  arrayed  in  a couple  of  silken  garments  as 
blue  as  the  tail-feathers  of  a king-parrot. 

King.  That  was  tipping  out  the  stems  of  the  plantain  with  leaves 
that  are  gently  tossed  in  the  breeze.®  14 


are  esteemed  as  such  (see  Spriiche,  3260 ; 
Rajaruighantu,  p.  167  ; and  cp.  Rtu-sarnhara 
i.  2,  4 and  iv.  2) : even  they  bring  no  coolness 
to  one  burning  with  love’s  fever.  Similar 
ideas,  Spriiche,  2246,  1081.  — The  stanza  is 
fuU  of  internal  rimes. 

1 ‘ Is  an  arrow-series.’ 

* To  cool  your  apparent  fervor  of  love. 

® As  mentioned  at  i.  34*®. 

* For  the  meaning,  BR.  vi.  761,  compare 
udvartana  — see  Amarakoga  ii.  6.  121. 

® Until  her  natural  flesh-tint  became  still 
more  beautifully  yellow. 

« ‘Accordingly  (ta)  the  beauty  of  a golden 
doll  was  polished  bright.’  Similarly  the  ta 
of  the  next  ten  stanzas. 


T ‘ Her  feet  were  caused  to  receive  a pair  ’ 
etc. 

* Root  bhram  = ‘ roam,  range  ’ (trans.,  as 
in  roam  the  woods  — see  BR.  bhram  2,  for 
examples),  and  so  ‘stray  around,  surround’; 
causative,  ‘cause  to  surroimd.’ — Active  con- 
struction, “ They  caused  bees  to  surround  the 
pair  of  lotuses”:  passive,  ‘‘The  pair  was 
caused  to  be  surrounded  with  bees.”  — Cp. 
the  note  on  ii.  19^;  cp.  also  ali-mala,  and  my 
note  on  avail  at  iii.  26"!. 

9 ‘Then  the  shoot  of  the  plantain  [became] 
possessing  slightly  wind-tossed  leaf-tips.  ’ Her 
thighs  are  likened  to  the  stems  of  a plantain 
and  her  wavy  silks  to  its  leaves.  — Scholion. 
Raja-nighantu,  xi.  107,  p.  149,  gives  uru- 


ii.  15 


Translation. 


[250 


ViCHAKSHANA.  Over  the  expanse  of  her  buttocks  was  placed  a 
girdle  bejewelled  with  rubies. 

King.  That  was  making  a peacock  dance  on  the  cliffs  of  Golden 
Mountain.^  15 

ViCHAKSHANA.  Upon  her  two  fore-arms,  — as  it  were,  the  stalks  of 
her  lotus-like  hands, ^ — were  put  rows  of  bracelets. 

King.  That  was  — tell  me®  — Avas  it  not  making  them  as  lovely  as  an 
inverted  quiver  of  Cupid!  16 

ViCHAKSHANA.  A choice  necklace  of  monster-pearls^  was  placed  on 
her  neck. 

King.  That  was  giving  to  the  moon  of  her  face  an  ample  retinue  of 
stars,  ranged  in  ranks  about  it.®  17 

ViCHAKSHANA.  And  a pair  of  ear-rings,  studded  with  gems,  was  put 
in  her  ears. 

King.  That  was  transforming  her  face  into  a chariot  of  Cupid  and 
furnishing  it  with  two  wheels  to  drive  it  to  and  fro.®  18 

ViCHAKSHANA.  With  native  colly rium  they  adorned  her  eyes.' 
King.  That  was  putting  ® a bee  on  the  fresh  blue-lotus  ® that  serves  as 


stambha,' thigh-pillared’  or  ‘ thigh-stemmed,’ 
as  one  of  16  names  for  plantain.  Kalidasa  has 
the  same  comparison  at  Meghaduta  93  ; and 
so  has  Amaru,  as  cited  by  BR.  under  kadala. 
Parab,  Subh.,  p.  449,  5I.  396,  has  lambhitah 
kadall-stambhas  tad-urubhyam  parabha- 
vam.  Cp.  rambhoru  ; also  iv.  7®  below. 

t Mount  Meru,  to  whose  rocky  steeps  her 
buttocks  firm  are  likened  here.  Cp.  ii.  34  n. 

* ‘ On  her  handlotus-forearmstalk-pair.’ 

® ‘Then,  tell  me,  does  it  [the  “pair”] 

not  look  like  [or  appear  beautiful  as  or  glitter 
as]  a reversed  Cupid’s  quiver  ? ’ — The  fore- 
arm and  the  quiver  have  the  same  general 
shape.  See  Griffiths,  i.  p.  16  a,  b,  and  pi.  73, 
83.  The  synonyms  for  quiver  stand  at 
Amarako^a  ii.  8.  88  ; but  I cannot  cite  any 
special  description  of  Cupid’s  quiver.  The 
nose  is  compared  to  an  inverted  quiver, 
Parab’s  Subh.,  p.  435,  5I.  121. 

* ‘ Six-masika-pearls.’  If  a masaka  or 
‘ bean  ’ was  4J  grains,  these  would  weigh  over 
a pennyweight  apiece  and  be  worth  each 
some  27  x 27  or  729  times  as  much  as  a one- 
grain  pearl ! Cp.  Hi.  3'**  below. 

® ‘Then  a multitude  of  stars  in  ranks 


[or  rows  — as  the  pearls  strung  on  their 
several  parallel  strings  are  in  rows]  attends 
upon  her  face-moon.’ 

® ‘Then  her  face-Cupid-car  with  two 
wheels  was  driven  to  and  fro.’  Ear-rings  like 
veritable  wheels:  Griffiths,  figs.  12,  50,  52, 
54,  55  ! 

’’  ‘ Her  eyes  were  made  possessing  native- 
collyrium-produced  decoration.’ 

* ‘ Then  a fresh-bluelotus-bee  was  given 
to  the  Five-arrowed  God.’  — See  root  r : 
uppiu  = uppio  (Jacobi,  § 2,  line  6,  Lautlehre) 
= arpito. — Konow  thinks  I am  wrong,  and 
that  silimuha  here  means  only  ‘arrow.’  Cp. 
ii.  38. 

* The  blue-lotus  (kuvalaya,  utpala)  is 
one  of  the  five  flowers  that  serve  as  Cupid’s 
arrows.  A fair  maid’s  eyes  are  often  likened 
(as  here)  to  such  a lotus  (see  Spriiche,  3702, 
3818,  3838);  or,  the  face  is  a lotus,  and 
the  restless  eyes  are  bees  (2658,  2660). 

The  fondness  of  the  bees  for  the  lotus  is  a 
common-place  of  the  poets.  The  dark  col- 
lyrium  is  here  likened  to  the  dark  bees  that 
swarm  about  the  blossoms.  Cp.  Uaghuvan^a, 
Hi.  8. 


251] 


Act  Second. 


ii.  23 


one  of  the  arrows  of  tlie  Five-arrowed  God.  [Or,]  That  was  giving  a 
fresh  lotus-arrow  ^ to  the  Five-arrowed  God.^  19 

ViCHAKSHAN.\.  The  wreath  of  curly  locks  that  fringes  the  crescent 
of  her  forehead  ® was  arranged. 

King.  That  was  the  spotted  antelope  appearing  on  the  moon’s 
disk.*  20 

ViCHAKSHANA.  Upon  the  temples  of  the  bright-eyed  maid  they 
heaped  the  flowers  her  tressy  burden  hid.® 

King.  That  was  letting  you  see  a contest  between  Rahu  and  the 
Moon,  on  the  part  of  the  fawn-eyed  girl.®  21 

ViCHAKSHANA.  Thus  the  Queen  decorated  the  girl  with  decorations 
to  her  heart’s  content. 

King.  That  was  an  adorning  of  the  ground  of  a pleasure  grove"  by 
the  beauty  of  spring.®  22 

Jester.  This,  O King,  is  very  truth  that  I tell  you: 

The  maid  whose  look  is  straight  and  bright, — collyrium  befits  her 
[eyes].  Whose  breasts  are  like  to  ample  jars,  — a pearl  necklace  becomes 
her.  But  if  upon  the  round  expanse  of  her  buttocks  you  place  a gorgeous 
girdle,  we  may  call  this  adorning  and  cfis-adorning  her.®  23 


1 As  in  Spriiche,  6691*>,  ^ilimukha  (see 
BR.)  means  not  only  ‘ bee,’  but  also  ‘ arrow.’ 

* That  is,  the  renewal  (implied  in  nava) 
of  the  decoration  of  her  eyes  was  like  renew- 
ing that  one  of  Cupid’s  five  arrows  which 
consists  of  a blue  lotus. 

* ‘ Clinging  to  the  edge  of  her  forehead- 
mooncrescent.  ’ — See  rac. 

* ‘Accordingly,  the  black-spotted  antelope 
is  (vrt)  on  the  moon’s  disk  in  the  middle.’  — 
Majjhau  (=  -ao,  i.e.  madhyat),  abl.  sing., 
used  adverbially.  — The  face  is  the  moon’s 
disk  and  the  locks  are  the  dark  spots  upon  it. 

The  dark  spot  or  fleck  on  the  moon  greatly 
enhances  its  beauty  (Qakuntala,  sarasijam, 
i.  20,  Williams),  and  is  often  likened  to  the 
black  or  dappled  antelope  (Kavyadar^a,  ii.  35). 
Hence  the  moon  is  called  mrganka  and  hatina- 
laksana  or  -lanchana.  Raja5ekhara  calls  it 
harina-laksman  twice,  and  calls  it  enanka  and 
mianka  and  harinanka  in  this  play.  Cp. 
Hala,  no.  14.  — For  the  names  of  the  “ fleck,” 
see  Hemachandra,  106.  — For  the  name 
“rabbit-marked,”  see  i.  25  and  note. 

® ‘ Of  the  maid  with  eyes  bright  as 


camphor-gum  the  tress-burden  was  possessing 
a hidden  flower-heap.’ — Let  the  reader  notice, 
with  reference  to  the  sequel  (iv.  IS^*,  20^®), 
that  ghana-sara  is  one  of  eleven  synonyms 
for  camphor  (karpura,  which  see,  Raja- 
nighantu,  p.  101). 

® ‘ Then  a boxing-match  between  Rahu 
and  Moon  was  shown  [you]  by  the  gazelle- 
eyed one.’  — Rahu,  the  demon  who  causes 
eclipses  by  “swallowing”  or  “hiding”  the 
moon,  is  here  likened  to  the  heavy  tresses ; 
and  the  blossoms,  to  the  moon. 

Tresses  and  flowers  have  a strife  to  see 
which  shall  cover  or  hide  the  other.  Her 
lovely  tresses  win  — they  eclipse  the  flowers. 

’ ‘ Sport-grove-ground.’  — Or  else,  ‘ sport- 
grove-earth,’  that  is  an  earth  or  world  of 
places  or  opportunities  for  amorous  delights. 
In  either  case  the  Heroine  is  meant.  Cp. 
ii.  Sb. 

* This  means  the  Queen.  — Scholion. 

® ‘ And,  on  the  other  hand,  on  whose 
wheel-like  buttock-expanse  is  a certain  girdle- 
pride,  of  her  we  call  this  adornment  and 
dis-adornment  ’ — if  I may  venture  so  to 


ii.  231— 


Translation. 


[252 


King.  \^Again^  with  his  thoughts  on  her.~\ 

Her  soft  bathing  garment,  wet  and  clinging  closely  ^ to  her  waist  with 
its  triple  folds,  and  to  her  shoulders,^  [but]  loose  upon  her  magnificent 
buttocks  ^ and  jar-like  breasts,^  betrays  the  tenderness  ® of  her  liana-like 
form  and  its  beauty.  24 

Jester.  \_As  if  vexed.~\  Ho  you!  I described  her  as  adorned  with  all 
her  ornaments:  while  you,  — you  won’t  remember  her  except ^ as  robbed 
of  all  her  decorations  by  the  water.®  — Well,  hasn’t  my  lord  ever  heard 
this?® 

Adornments  make  the  comeliness  even  of  a person  who  is  naturally 
handsome  to  unfold  itself  [to  still  greater  beauty].  A certain  splendor 
results  from  adorning  even  genuine  precious  stones  with  diamonds.  25 
King.  ’Tis  only  the  hearts  of  fools,  mind  you,^®  that  fair  women  rob 
by  the  bewitching  accessories  of  attire;^®  while  clever  men  have  to  be  won 
by  natural  beauty.  Grape-juice  isn’t  sweetened  with  sugar.^^  26 

ViCHAKSHANA.  As  the  King  has  intimated:^® 

To  swelling  breasts,  or  eyes  that  to  the  budding  ears  do  reach,i®  [or] 
face  that  serves  as  moon  unto  the  earth,  and  body  that  is  a stream  of  the 
rivers  of  loveliness,^^  what  excellence  is  imparted  by^®  the  art  of  dress 
and  adornment?  [Very  little,  perhaps.  But]  why^®  [then]  is  even  that 


reproduce  the  paronomasia  of  bhusanam 
dasanam. 

1 Cp.  ii.  Ot 

* ‘Adhering  (laggam),  water-close’  (i.e. 
skin-tight  with  the  water,  jala-nividam). 

3 ‘ On  triple-fold-provided-navel  and  on 
arm-roots’:  cp.  Amarako9a,  ii.  6.  79. 

* ‘ Getting  loose  on  her  paragons  of  but- 

tocks and  breasts.’  See  ^vas  ud,  ‘ sich 
losen,’  in  BR.  ® Cp.  ii.  44«. 

® Perhaps  langima-  is  connected  with 
laugh,  ‘ spring,’  and  means  ‘ springiness,  elas- 
ticity,’ and  so  ‘litheness.’  That  is  not  far 
from  Vasudev’s  definition,  tarunya,  ‘youth- 
fulness, tenderness.’ 

’ “ Not  . . . except  ” renders  jeva. 

® He  had  already  so  described  her,  i.  26. 

® It  wasn’t  the  Jester’s  fault  if  the  King 
hadn’t  heard  the  first  half  — see  i.  31*>. 

Hanta. 

KaXXl7TU7o». 

Or,  ‘ excellence  (guna)  of  the  witchery 
of  attire.’ 


Bhavanijja : we  must  take  the  causa- 
tive of  bhu  as  = ‘ cause  to  come  or  yield,’ 
colloquial  ‘fetch’  (“that’U  fetch  him”), 
slang  ‘ fetch  ’ ( = ‘ allure,  attract  ’ ) . 

It  must  be  sweet  by  nature,  if  at  all. 
Cp.  Spriiche,  3316.  i»  At  i.  33“'>. 

Cp.  i.  32»*>.  — Or,  ‘ that  reach  to  the 
ear-buds’  (the  flowers  placed  as  ornaments 
over  or  in  the  ears).  Cp.  ii.  3». 

1®  ‘ What  merit  of  breasts  etc.  is  made  by 
the  art  etc.  ? ’ 

‘ Listen  to  this  (inam)  reason  ...  for 
this  fact  (tattha  — see  Whitney,  § 303a), 
that  (jarh)  even  that  (tarn  pi  — the  toilet 
adornment  just  mentioned)  is  all  (savvam) 
agreeable : What  (frustration  or)  impair- 
ment of  natural  growth  is  there  ? ’ The 
reason  is  put  in  the  form  of  a rhetorical 
question.  I take  tattha  and  jam  as  correla- 
tives. — Rudhi  outmatches  artifice  (yoga) 
and  has  a power  [for  better,  for  worse]  quite 
independent  of  the  tricks  of  the  toilet  — says 
the  Scholiast. 


253] 


Act  Seeo7id. 


— ii.  297 


all  agreeable?  Listen  while  I tell  you  the  reason  ^ for  it  now:  You 
cannot  spoil  natural  beauty  ! 27 

King.  iNIoreover,  my  honest  Kapinjala,  here’s  a point  for  you:^ 

What  is  the  use  of  artilicial  ways  of  adornment?  Those  are  the  tricks 
of  actresses.  The  person  itself  that  takes  the  heart  of  a man,^  that  is 
lovely.  Therefore,  matrons,  at  that  supremely  happy  moment  in  which 
they  are  united  with  their  husbands,  and  in  which  the  joy  of  love  that 
brings  a whole  host  of  excellences  is  attained,  do  not  wish  at  all  for 
splendid  attire.  28 

ViCHAKSHANA.  Sire,  this  I may  tell  you  : not  only  by  the  Queen’s 
orders  did  I follow  Karpura-manjari,^  but  also  because  I had  come  to  terms 
of  close  friendship®  with  her.  Therefore,  as  I’m  ready  at  her  need,  I will, 
again  [as  before]  make  myself  her  attendant. 

For  the  purpose  of  testing  the  heat  of  her  [love-fever],  their  hand  was 
laid  in  the  fold  between  her  breasts®  by  her  friends,  and  was  often  as- 
tonished out  of  it7  by  the  burning  and  quickly®  withdrawn. — [But]  what 
of  that  even?  Give  ear  to  these  words,  pleasing,  yet  alarming:®  Ward- 
ing off  the  moonbeams  wdth  her  hand  for  a shade,  she  passes  the 
night. 7®  29 

The  rest  of  the  business  Kapinjala  will  tell  you.  And  [as  he  says],  so 
it  should  be  done. 

[.Ii  this,  she  steps  about  the  stage,  and  then  exit.]  [3] 

King.  But,  man,  what  is  that  “rest  of  the  business”? 

Jester.  Today  is  the  fourth  day  of  the  Swing  festival. [5]  And 
ere  it  close,  Karpura-mahjarl  is  going  to  be  put  in  the  swing  in  front  of 
the  [image  of]  Parvati.  So  my  lord  is  going  to  wait  at  the  Emerald 


1 ‘ Listen  to  the  reason,  being  heard 
(suwantam,  passive  of  gru,  Jacobi,  § 69.  3), 
i.e.  the  reason,  while  I tell  it.’ 

* ‘ You,  this  one,  are  instructed.’ 

® ‘ What  own-person  (nia-angam)  is  man- 
heart-captivating.  ’ 

* Tae  : loosely  used  genitive  with  anu- 
gada. 

® ‘ Had  come  to  the  amity  of  apple-of-the- 
ey e-friendship.’  Cp.  Psalm  xvii.  8. 

® ‘ The  hand,  laid  on  or  in,  was  with- 
drawn from  the  depression  (utsahga-tas) 
between  her  breasts.’  — For  the  dative  in  -aa, 
cp.  Jacobi,  § 38,  and  i.  14^,  34“,  iv.  21®. 


’ See  BR.,  damara,  ‘a  very  astounding 
thing.’  The  hand  is  spoken  of  — boldly  — 
as  astounded. 

® Helai  (helae),  ‘without  more  ado.’ — 
See  root  krs. 

* The  reason  for  the  alarm  makes  the 
Scholiast  much  trouble.  — Her  behavior 
seems  to  indicate  that  she  is  love-sick  (cp.  ii. 
5®,  canda-maranijja),  if  not  also  a bit  moon- 
struck. 

Cp.  Vallabhadeva,  no.  1411,  and  Ko- 
now’s  Essay,  p.  190. 

Cp.  ii.  6^3  and  note. 


ii.  297 — 


Translation. 


[254 


Seat^  and  watch  Karpura-manjarl  while  she  swings.  This  is  “that  rest  of 
the  business.  ” [8] 

King.  [^Reflecting. ~\  Well,  you  have  scored  one  on  the  old  lady,  keen 
as  she  is.  [10] 

Jester.  Made  the  old  cat  drink  sour  gruel  and  think  it  was  milk^  — 
I guess. 

King.  Who  else  but  you  ® is  ready  at  my  need  ? What  else  but  the 
moon  is  clever  enough  to  raise  the  tides  of  the  ocean  ? [i3] 


£At  that,  they  step  about  and  make  as  if  they  were  entering  the  Plantain  Arbor. ~\  [14] 

Jester.  Here  is  the  raised  seat  begemmed  with  crystal.  And  so, 
man,  sit  down  on  it.  [16] 

[The  King  does  so.] 

Jester.  [Raising  his  hand.~\  O King,  behold  the  moon  at  the 
full ! [19] 

King.  [Looking.']  Oh  ! it’s  the  face  of  my  beloved  in  the  swing  that 
he’s  pointing  out  to  me  when  he  says  “moon  at  the  full.”  [Regards 
her  attentively.]  [22] 

Paling  the  face  of  every  beauty  here,*  making  the  sky’s  hollow  vault 
to  ripple^  with  the  liquid  moonlight  of  her  loveliness,  and  breaking  the 
haughty  pride  in  the  hearts  of  maids  that  regard  her,®  appeareth  the  moon- 
like orb  of  her  face  as  she  moves  straight  to  and  fro  in  her  sport  on  the 
swing.  [ Or,]  appeareth  the  moon-like  orb  of  her  face,  artless  and  mobile, 
as  she  plays  at  swing.  ^ 30 


1 Literally  “Emerald-Heap.”  This  is, 
I think,  a jocosely  exaggerating  nickname 
for  a seat,  liberally  ornamented,  as  we  may 
presume,  with  gems.  The  scholion  to  this 
pa.ssage  calls  it  “ a kind  of  raised  seat” ; and 
to  such  a seat  allusion  is  made  at  ii.  29>^ 
The  name  appears  to  include  not  only  the 
seat,  hut  also  an  arbor  (called  “Plantain 
Arbor”  at  ii.  29^^)  or  other  shelter  in  which 
it  was  placed,  since  a door  is  mentioned  at 
ii.  42^h  To  judge  from  iv.  18®,  the  “Seat” 
and  the  “Arbor”  would  seem  to  be  in  two 
different  localities.  I cannot  reconcile  the 
apparent  contradiction.  Of  course,  we  might 
render  the  name  by  “ Emerald  Arbor.” 

2 [By  me]  ‘she,  thinking  (ti)  [This  is] 
“ milk  ’ ’ ( duddham ) , was  made  to  drink  sour 


gruel  — [thus]  I conjecture.’  — Proverbial. 
Konow  cites  Viddh.,  p.  114®,  and  Hasya- 
rnava,  38'^®. 

® For  the  ablatives,  see  p.  203. 

® ‘Making  colorless  (vicchaa)  the  faces 
of  the  (circle,  i.e.)  entire  collection  of  beauties 
in  the  town.’  ® See  under  vicchola. 

® ‘That  regard  (iks)  her,’  with  envy  of 
her  beauty,  namely. 

® ‘ Appears  her  face-moon,  straigbtly 
(sarala)  moving-to-and-fro  (tarala)  in  her 
swing-sport.’  Or,  ‘ Appears  her  face,  artless 
(straight,  not  crooked)  and  mobile.’ 

The  two  adjectives  are  used  of  a look,  in 
like  collocation,  in  Bhartrhari’s  smitam 
kimcit.  Tarala,  used  of  winds,  waves, 
lightning,  of  eyes,  glances,  faces  a-tremble 


Act  Second. 


— ii.  33 


255] 


And  again : 

With  [waving]  cliowries^  raised  aloft,  with  showy  rows  of  banners 
dazzling-white,  [and]  with  bells,  — assuming  a likeness  to  the  resjden- 
dent(?)  Asura-maidens’  cars,^  [now]  mounting  the  rampart,  in  its  course, 
ascending,  descending,  coming,  and  going,  the  swing  captivates®  the  heart 
of  men  with  its  sinkings  and  risings.'*  31 

And  again  : 


With  the  tinkling  jewelled  anklets,® 
With  the  flashing  jingling  necklace, 
With  the  show  of  girdles  garrulous 
From  their  ringing,  ringing  bells,* 


With  the  sound  of  lovely  jingles 
From  the  rows  of  rolling  bangles, — 

[Pray]  whose  heart  is  not  bewildered 
While  the  moon-faced  maiden  swings?’  32 


Jester.  Oh!  you’re  an  aphorist ;®  but  I’ll  be  your  commentator  and 
describe  her  with  all  prolixity. 

Pained  neath  the  pressure  of  her  towering  breasts, 

Her  rosy  feet  cry  out  to  Love  for  help, — 

Their  voice  her  tinkling  anklets  set  with  gems.®  33 


with  angry  tears,  means  ‘ mobile,  bright, 
flashing,’  etc. 

Note  the  uncommonly  efiective  employ- 
ment of  alliteration  and  of  well-balanced 
paronomasia  in  the  swing-line,  which  is  an 
admirable  bit  of  word-painting.  The  metre 
of  Kalidasa’s  lyrical  m;ister-piece  suits  it  to 
perfection.  The  following  verse  may  give 
some  idea  of  the  rhythm  and  the  internal 
rime: 

Moves  to  I and  fro,  | swinging  high,  | swing- 
ing low,  II  now  a rise,  | then  a sink  | ing. 

’ A kind  of  fan-like  brush,  made  of  the 
yak’s  tail,  often  with  bejewelled  handle,  and 
serving  as  one  of  the  insignia  of  royalty.  Pic- 
tured in  Griffiths,  pi.  5,  7;  Banners,  i.  p.  15  b. 

® The  order  of  words  in  my  version  is 
ambiguous,  as  it  is  in  the  original : the 
uncertain  ‘ ‘ resplendent  ’ ’ may  qualify  “Asura- 
maidens”  (asura-tarum)  or  “cars.”  — The 
Asuras  are  the  foes  of  the  gods. 

* ‘ Makes  (kunai)  captivation  (-haranam) 
by  (-vasa)  its  couising  (raa).’  Raa,  raya, 
from  ri,  ‘ run,  currere,’  as  used  of  the  motion 
of  liquids,  is  not  an  unfit  word. 

* AVhat  was  said  of  the  foregoing  stanza 
applies  in  large  measure  to  this. 

® The  four  adjectives  that  fill  up  lines 


ahc  are  bahuvrihia  to  hindolanam  : ‘ a swing- 
ing which  possesses  (i.e.  in  which  become 
manifest)  tinkling-jewelled-anklets,  jingling- 
necklace-flash,  ringing-bell-mouthy-girdle- 
display,  [and]  rolling-bangle-row-produced- 
sweet-jingle-sound.’ 

* Little  bells  were  attached  to  the  girdles. 
See  Bhartrhari’s  etag  calad,  orSpriiche,  1456; 
with  which — in  general,  also  — our  stanza 
may  be  compared. 

’ ‘ To  the  heart  of  whom  is  her  swinging 
not  bewildering  (heart-bewildering)  ? ’ 

Note  again  the  beautiful  appropriateness 
of  the  rhythm  : it  is  that  of  the  prthvi,  with 
its  KiSXa  of  jingling  tribrachs  and  bell-like, 
chiming  cretics.  The  stanza  is  a tour  deforce 
in  the  u.se  of  imitative  words  (onomatopceia). 
Compare  Edgar  A.  Poe’s  “The  Bells.” 
Rajagekhara  repeats  the  first  half  of  the 
stanza  at  Balabh.  ii.  3. 

For  pictorial  illustration  of  a swing- 
scene,  see  Griffiths,  figure  66. 

* You  express  yourself  with  all  the  exag- 
gerated concision  of  a writer  of  aphorisms  (cp. 
Max  Muller’s  Sanskrit  Literature,  p.  71f.). 

® ‘The  pair  of  her  foot-lotuses,  pressed 
by  the  superposed-breast-mountain-slopes, 
calls  as  it  were  to  Love  with  the  sound  of  the 
tinkling  jewelled  anklets.’ 


ii.  34  — 


Translation. 


[256 


Her  rounded  buttocks,  as  she  plays  at  swing, 

For  joy  are  laughing,  laughing  once  again, — 

Their  voice  the  chiming  of  her  jewelled  zone.^  34 

The  stream  of  pearls  adown  her  neck  that  flows, 

Bright  undulating  with  the  moving  swing. 

Bears  far  and  wide  King  Cupid’s  name  and  fame, 


As  if  they  hung  like  creepers  o’er  its  flood.  ^ 35 

Her  garments  tossed,  as  gainst  the  wind®  she  swings, 

Reveal  some  glimpses  of  her  lovely  form. 

Which  calls  to  Love  to  nestle  by  her  side.^  36 

Her  earrings,  striking  gainst  her  saffroned  cheeks, 

Mark  lines  that  do  a playful  tally  keep. 

To  count  each  oscillation  of  the  swing.®  37 

Sudden  she  opes  her  eager  bloomy  eyes, 

Big  as  her  palm,  and  Cupid’s  quiver  fills 

With  piercing  shafts  of  lotus-petals  blue.*  38 

And  on  the  downward  glide,  behind  her  head 
Stands  out  her  braid,  like  stock  of  Cupid’s  whip, 

And  says  “ Stay  not  the  coursing  of  the  swing  1 ” " 39 

Thus  all  this  maiden’s  winsome-graceful  ways, 

Displayed  in  swinging,  form  a picture  bright, 

W^hich  Love,  sly  limner,  paints  in  every  heart ! ® 40 


1 ‘ Her  chariot-wheel-rounded  buttocks, 
swing-play- voiceful  (i.e.  -jingling),  seem  to 
laugh  for  joy,  with  the  sound  of  the  bells  of 
her  bejewelled  girdle.  ’ — Bejewelled  girdle  : 
Griffiths,  pi.  55.  Bells  on  bracelets,  fig.  6 ; 
on  trappings,  pi.  6. 

* ‘ Her  pearl-necklace,  with  the  semblance 
of  a bright  (tara)  river  (saria) , flowing  with 
the  sport  of  the  swinging,  seems  as  if  scatter- 
ing afar  the  fame-creepers  of  the  Flower- 
weaponed  King.’  Her  necklace  of  magnifi- 
cent (cp.  ii.  17“^)  pearls  is  compared  to  a 
stream  which  snatches  and  carries  far  and 
wide  Cupid’s  fame.  This  again  is  likened  — 
in  boldest  metaphor  — to  a vine  swaying 
loosely  over  the  stream ; the  impetuosity  of 
the  stream  tears  the  vine  from  its  support  and 
carries  it  far  away  ; or  it  spreads  his  fame  far 
and  wide.  (In  short,  her  ornate  beauty  is  a 
“card”  for  Cupid.)  Bhartrhari,  in  his 
abhimata  (Spriiche,  494),  speaks  of  “ cutting 
the  creeper  of  shame.” 

® Produced  by  her  motion  through  the  air. 

* ‘ Revealed  slightly  by  her  garments 


tossed  by  the  envisaged  wind,  her  limbs,  call- 
ing upon  Love,  make  him,  as  it  were,  to  settle 
down  beside  them.  ’ 

® ‘ Her  earring-pair,  by  its  contact-plays 
upon  her  thick-besaffroned  cheeks,  seems  (to 
give  marks  for  the  oscillations,  i.e.)  to  make 
a mark  for  each  oscillation  of  the  swing,  with 
an  eagerness  of  counting.’ 

« ‘Her  eyes,  like  her  palm  [in  size  — 
cp.  i.  16®,  .30'],  on  a sudden  blossomed-open 
with  curiosity,  seem  to  deliver  bluelotus-petal- 
arrows  to  the  Five-arrowed  God.’ 

’ ‘ The  braid-stock  behind  her,  acting  the 
part  of  Cupid’s  whip,  (goes  downward,  as  it 
were,  saying,  i.e.)  seems  to  say  [threaten- 
ingly] as  she  sinks  or  is  on  the  downward 
oscillation,  “ There  shall  in  no  wise  be  an 
interruption  of  the  course  of  the  swing.”  ’ 

I take  padai  of  the  first  half  of  the  for- 
ward oscillation,  when  the  braid  stands  out. 
Of  course  it  may  refer  to  the  first  half  of  the 
backward  oscillation;  and  if  so,  we  must 
render,  ‘ the  braid  falls  on  her  back.’ 

* ‘ Thus  this  maiden’s  winsome-grace- 


257] 


Act  Second. 


— ii.  418 


King.  [Dejectedli/.^  Ah,  Ivarpura-inaujari  lias  dismounted  ! Empty 
is  the  swing  ; empty  my  heart ; empty  the  eyes  of  one  who  fain  would 
gaze. 

Jester.  She’s  come  it  on  you  like  a streak  o’  lightning,^  eh?  in  a 
wink  — seen  — vanished  ? [3] 

King.  Speak  thou  not  thus.  [Say  rather,]  like  the  mirage — seen 
and  evanished.®  [He  makes  as  if  recalling  something.^  [6] 

As  red  as  madder  are  her  close-sealed  lips  ; like  fresh-wrought  gold 
bright  is  her  slender  form  ; her  glance  outdoes  in  dazzling  lustrousness 
or  in  whiteness,^  the  new  moon’s  slender  crescent  ; her  jet-black  hair  is  like 
collyrium.  Thus  o’er  the  maid,  with  tremulous  fawn-like  eyes,  there 
plays  this  beauty  of  colors  ; ® and  by  them,®  arrogant  Cupid  in  enthralling 
youthful  hearts,  seems  to  have  fulfilled  his  purpose.  41 

Jester.  Here’s  the  Emerald  Seat.  Sit  down  on  it,'  old  man,  and 
wait  for  her.  [2]  Besides,  the  evening  is  at  hand.  [They  do  so.]  [4] 
King.  The  night,  though  very  chill,  [to  me]  seems  like  the  very 
scorching  hour  of  a summer’s  midday.  [5] 

Jester.  Well  then,  with  [the  remembrance  of  her]  Loveliness  as  his 
[sole]  companion,  let  the  King  just  wait  a jiffy  while  I fetch  the  various 
refrigerants  to  cool  him  off.  [At  that.,  he  makes  as  if  he  were  leaving  the 
stage,^  and  looks  before  him.~\  VVhy,  but  here’s  Vichakshana  coming  this 
way  [and  already]  quite  near  by.  [8] 


radiant  swing-display-ways,  — in  whose  heart 
(citta)  does  not  the  skilful  picture-maker 
(citta-ara,  Skt.  citra-kara),  Love,  as  it  were, 
depict  [them]  ? ’ 

Vilasa  is  ‘ grace,’  but  also  ‘ merry  play  ’ 
with  a connotation  of  coquetry.  Ujjala, 
‘ blazing  out,  bright.  ’ — To  pavanca  I assign 
the  meaning  adambara  given  by  Halayudha. 
— Caria  has  a vague  meaning  for  which  even 
the  word  “acts”  is  too  precise:  “ways”  is 
perhaps  its  best  English  counterpart.  — The 
Prakrit  makes  a pun  on  citta,  which  is  lost 
in  Sanskrit. — Properly,  niuna  is  ‘skilful, 
clever.’  I take  it  as  ‘ (playfully)  skilful, ’ 
thereby  straining  it  a little,  I fear,  in  the  di- 
rection of  vidagdha,  ‘sly.’ 

1 ‘Then  it  was  lightning-streaked  (im- 
personal passive  of  denominative)  by  her.’ 

^ ‘ Like  the  town  of  Hari9chandra.  ’ — He 
was  expelled  from  heaven  for  pride ; but,  re- 


penting during  his  fall,  he  was  forgiven  and 
was  stayed  in  mid-air,  where  he  and  his  are 
now  sometimes  seen  in  their  aerial  city. 

® Note  the  striking  contrast  between  the 
King’s  love-lorn  solemnity  and  the  Jester’s 
facetiousness.  The  difierence  between  nattha 
and  pa-nattha  seems  to  be  intentional  and  I 
have  reproduced  it  in  my  version. 

* Dhavalima-  is  applicable  both  to  the  ra- 
diance of  a glance  and  to  the  whiteness  of 
the  moon. 

® For  reha,  see  note  to  iv.  20». 

® ‘By  which  (jia,  scilicet  rehae)  Cupid 
appears  as  possessing  an  accomplished  object.’ 

’ I suppose  that  the  King  had  risen  from 
it  in  his  excitement.  He  does  not  seem  to 
have  left  the  Arbor  since  ii.  2QU. 

* We  have  therefore  now  to  imagine  the 
stage  as  representing  simultaneously  two  dif- 
ferent scenes:  1.  the  “Emerald  Seat”  with 


ii.  41^  — 


Translation. 


[258 


King.  At  haiid  is 

The  time  appointed,  as  her  friends  have  told  it.^  [9] 

[4s  if  recollecting  ; and  betraying  by  his  manner  the  eagerness  of  love."]  [10] 

Thy  hands  and  feet  are  shoots  of  tenderest  growth ; 

Thine  eyes,  ineseems,  are  water-lilies  blue ; 

Thy  face,  albeit  like  the  [cool-rayed]  moon ; — 

Although  thy  form  is  like  a champak  fresh ; — 

Alas,  oh  marvel ! how  they  me  inflame ! * 42 

Jester.  [^Looking  attentively.']  Ah,  here’s  Vichakshana,  with  vari- 
ous refrigerants.  [2] 


[Then  enters  Vichakshana  carrying  the  refrigerants.^'] 

Vichakshana.  \_Stepping  about.]  Oh,  how  my  ^dear  girl  suffers 
from  the  burning  fever  of  separation  ! [5] 

Jester.  [Approaching  her.]  Lady,  what  have  you  here? 
Vichakshana.  Various  refrigerants. 

Jester.  Whom  are  they  for  ? 

Vichakshana.  My  dear  girl.  [10] 

Jester.  Well  then,  give  me  half. 

Vichakshana.  What  for? 

Jester.  For  the  King. 

Vichakshana.  But,  [I  mean,]  for  what  reason? 

Jester.  And  what’s  the  reason  in  Karpura-mahjari’s  case  ? [is] 

Vichakshana.  Don’t  you  know  she’s  seen  the  King? 

Jester.  And  you  — don’t  you  know  the  King’s  seen  Karpura- 

manjarl  ? r ^ i 1 , , , t 

[At  that,  they  both  laugh.] 


the  King  seated,  “alone ” ; and  2.  the  meeting- 
place  (near  by,  to  be  sure)  of  the  Jester  and 
Vichakshana.  Cp.  the  Analysis,  p.  219. 

We  are  to  suppose  that  the  King  does 
not  hear  the  Jester’s  remarks  (ii.  41^  and  ii. 
42^)  nor  the  ensuing  colloquy  (ii.  42^  as  far 
as  ii.  43^) ; and  that,  in  strictness,  the  Jester 
does  not  hear  the  King’s  remark,  ii.  41®. 

And  yet,  curiously  enough,  the  Jester 
does  turn  this  last  phrase  to  account  by  quot- 
ing it,  mockingly,  at  ii.  50®,  as  if  he  had  legit- 
imately overheard  it.  See  ii.  50®  and  note. 

1 The  King  here  lapses  into  rhythm,  al- 
though the  forms  are  QaurasenI ; see  preced- 


ing note.  The  appointment  refers,  I think, 
to  a nocturnal  meeting  immediately  following 
the  close  of  act  ii.  See  additional  note 

upon  p.  289. 

® “ Inflame,’’  with  literal  and  with  meta- 
phorical meaning,  as  in  Prakrit.  One  ex- 
pects green  shoots,  water-lilies,  etc.,  to  be 
cooling,  not  inflammatory.  Similarly  iii.  20. 

® ‘ Possessing  a taken  coolness-contriv- 
ance totality.’  See  OB.,  ^i^iropacara.  Sa- 
magri,  ‘ totality  of  the  needful  requisites.’ 

Bana  gives  a most  intere.sting  list  of  the 
means  used  to  allay  the  heat  of  the  body  at 
Harsha-charita,  p.  177-178. 


250] 


Act  Second. 


— ii.  438 


ViCHAKSHANA.  Where  is  the  King,  then? 

Jestkk.  At  the  Emerald  Seat,  as  you  ^ directed.  [20] 
ViCHAKSHANA.  Well  then,  stay  with  the  King  near  the  door  of  the 
Emerald  Seat,  in  order  that,  since  each  has  seen  the  other,  the  last  fare- 
well may  now  be  said  to  all  refrigerants  ! ^ 

Jester.  [Pm^s  his  arms  around  her.  Then,  throwing  au'ay  the  refrig- 
erants, he  sags  to  them:^  Be  off  to  the  land  of  Never-come-back  ! [^And 
addressing  her:']  Why  then  must  we  stay  in  the  neighborhood  of  the 
door  ? [26] 

ViCHAKSHANA.  On  account  of  the  Queen’s  directions. 

Jester.  Why  such  directions? 8 

ViCHAKSHANA.  The  Queeii  has  planted  there  ^ three  young  trees. 
Jester.  What  trees?  What  trees?  [so] 

ViCHAKSHANA.  An  amaranth,  a tilaka,  and  an  agoka. 

Jester.  Pray  what  is  she  going  to  do  with  them  ? 

ViCHAKSHANA.  The  Queeii  said  to  Karpura-mahjari : 

When  a maiden  who  is  in  love,  embraces  an  amaranth,  or  looks  at  a 
tilaka,  or  touches  with  the  tip  of  her  foot  an  a^oka,  then  they  burst  into 
bloom.  So  do  thou  satisfy  for  them  their  longings.®  43 

And  now  Karpura-manjari  is  going  to  do  it. 

Jester.  Well  then.  I’ll  fetch  the  old  man  from  the  Emerald  Seat, 
station  him  where  he’ll  be  hidden  by  the  tamala  shrub,  and  let  him  witness 
the  affair  with  his  own  eyes.®  [2]  [ZTe  makes  as  if  doing  so.’’  To  the 
King.]  Ho  there,  up  and  behold  the  moon’s  crescent  [beaming]  over 
the  ocean  of  your  heart.®  [5] 

[The  King  rises  and  looks.] 


[Then  enters  exquisitely  adorned,  Karpura-mahjari.]  [7] 
Karpura-manjarI.  But  where’s  Vichakshana  ? 


1 At  ii.  29'  There  he  seems  to  have 
remained  since  ii.  29".  Cp.  ii.  41*  and  note. 

2 Cp.  ii.  5<*.  The  ardor  of  the  two  lovers 
is  now  such  that  nothing  will  any  longer  avail 
to  cool  them. 

® ‘ Of  what  nature  (significance)  are  the 
directions  ? ’ 

* In  the  palace  garden,  near  the  door  of 
the  Plantain  Arbor  (with  its  “Emerald 
Seat”)  and  the  scene  of  the  swinging. 


® Do  thou  satisfy  for  them  their  long- 
ings to  bring  forth  flowers,  by  doing  these 
several  acts : cp.  i.  202'  and  geg  my  notes 
thereto. 

® ‘ I will  make  this  thing  to  be  before  his 
eyes.’ 

' See  note  to  ii.  41'. 

® Compare  Raghuvan9a,  xii.  36,  where 
Sita’s  laugh  is  likened  to  the  moon  rising 
from  the  ocean. 


ii.  439— 


Translation. 


[260 


\ ICHAKSHANA.  \_Ooming  up  to  her  from  hehind.'\  My  dear,  now  do 
.as  the  Queen  directed.  [10] 

King.  But  man  ! what’s  this  ? 

Jester.  Just  you  keep  behind  the  tamala  bush  and  you’ll  find  out. 
ViCHAKSHANA.  Here’s  the  amaranth.  [13] 

\_Karpura-manjarl  puts  her  arms  around 

King.  This  lovely  maiden,  whose  swelling  breasts  are  ample  as  a 
water-jar,^  by  her  impetuous,  close  embrace,  hath  made  the  young  ama- 
ranth tree  to  blossom  with  such  a profusion  of  flowers  that  a [veritable] 
procession  of  swarms  of  bees  has  [already]  arrived  here  ! 44 

Jester.  Ah  see,  ah  see,  the  mighty  jugglery  ! For 
The  amaranth  tree,  young  though  it  is,  just  now  close  enfolded  in  her 
tender  arms,  all  on  a sudden  shoots  forth  a multitude  of  flowers,  — Love’s 
arrows,  as  it  were.  45 

King.  Yes,  not  one  whit  less  is  the  poAver^  of  longing. 
ViCHAKSHANA.  Here  is  the  tilaka  tree. 

[Karpura-mahjari  stands  a good  while  looking  at  it  with  sidelong  glances.'\ 

King.  Piercing,  restless,  and  just  touched  with  jet-black  collyrium,^ 
and  having  ever  as  their  ready  helper  the  Five-arrowed  God*  who  bears 
the  [flowery]  shafts,  — such  are  her  eyes  ; and  when®  with  them  upon  the 
tilak  tree  the  fawn-eyed  girl  a sudden  onset®  makes,  then  it  stands  as  if 
thrilled  with  delight,"  its  crown  all  bristling®  with  masses  of  clustering 
blossoms.  46 

ViCHAKSHANA.  And  here’s  the  aQoka  tree. 

[Karpura-mnhjarl  makes  as  if  she  were  giving  it  a dainty  kick.'\ 


^ Cp.  ii.  24'’. 

2 ‘ Precisely  such  is  the  power.  ’ The  tree’s 
longing  (and  the  girl’s  ?)  must  have  been  so 
powerful  as  to  produce  this  magic  effect. 

8 ‘ Anointed  with  a small  portion  of  col- 
lyrium.’ 

* ‘ Ever  making  or  putting  (kr)  Cupid  at 
her  side.  ’ 

8 Literally  ‘ When  (jam)  the  attack  of 
the  fawn-eyed  girl’s  eyes,  piercing,  etc.,  fell 
on  (was  precipitated  on)  the  tilaka-tree,  then 
(tam)  it  stood  thrilled  as  it  wei’e,  etc.’ 

8 Ilemachandra,  800,  gives  dhati  as  one 
of  four  synonyms  (see  above,  p.  201)  for 


‘ ‘ sudden  attack,  ” “ surprise,  ” — for  that 
which,  “if  it  happen  by  night,  is  called 
sauptika,”  so  familiar  as  main  incident  and 
as  title  of  book  x.  of  the  Maha-bharata. 

Properly,  ‘ horripilated,  bristling.  ’ 
Hindu  poets  constantly  make  allusion  to 
horripilation  or  bristling  of  the  hair  as  cau.sed 
by  emotions  of  pleasure.  This  again  (see 
note  to  i.  32)  is  a curious  fiict  of  racial  psy- 
chology ; we  think  of  it  chiefly  as  a sign  of 
terror.  Cp.  iii.  24  and  note  and  iv.  21. 

8 Dantura,  ‘ toothed,  tusked,’  and  so 
‘thickly  beset,’  or  ‘bristling,’  and  in  evident 
rapport  with  romancio. 


2G1] 


Act  Second. 


— ii.  492 


King. 

No  sooner  * had  the  maid,  whose  face  is  fair 
As  is  the  radiance  of  the  dapple  moon,* 

In  graceful  play,  to  the  a9oka  given. 

With  [rosy]  foot®  whose  [jewelled]  anklets  rang, 

A [dainty]  touch,  — than  * in  an  instant  burst 
Forth  into  blossom,  e’en  from  every  spray 
In  all  its  crown,  a gorgeous  show  of  flowers  — 

A sight  for  all  the  denizens  of  heaven  ! 47 

Jester.  Say,  man,  do  you  know  the  reason  why  the  Queen*  didn’t 
satisfy  the  longings  of  the  trees  herself  ? 

King.  I suppose  of  course  you  know?  [2] 

Jester.  I’ll  tell,  if  the  King  won’t  get  wrathy. 

King.  What  occasion  is  there  for  anger?  unseal  your  tongue  and 
speak.  [5] 

Jester.  Although  in  this  world  comeliness  of  person  does  maintain 
the  attractiveness  of  doting  matrons,®  nevertheless,  methinks,  it  is  in 
youth’s  tenderest  prime  that  Lakshmi  (or  Loveliness  personified')  mani- 
fests herself  as  presiding  deity.  48 

King.  I catch  your  drift ; ® and,  what’s  more,  have  something  to  say 
[on  that  point]  myself. 

In  spite  of  the  fact  that"  [very]  young  maidens,®  by  reason  of  their 
eager  curiosity,®  are  [a  bit]  fickle-minded,  nevertheless,^  it  is  with  them, 
— their  breasts  just  budding  into  view, — that  the  mystery  of  the  Dolphin- 
bannered  [God  of  Love]  doth  abide.  49 

Jester.  [Yes,]  even  trees  blossom  out  with  the  mystery  of  the 
beauty  of  form ; but  they  know  not  the  mystery  of  love.*® 


* The  two  ca’s  hint  at  the  fact  that  the 
touching  with  the  foot  and  the  bursting  into 
bloom  occurred  simultaneously.  — Scholiast. 
Cp.  iii.  3<i. 

* ‘ Deer-spotted  [moon],  [moon]  flecked 
like  the  black  antelope,’  — see  ii.  20  note. 

® Ahhina. 

* ‘ Do  you  know  what  is  the  reason  (in 
this,  ettha,  Whitney,  § 303  a,  i.e.)  for  this, 
that  (jam)  the  Queen,  etc.  ? ’ 

® It  seems  to  me  licit  to  assign  this  con- 
notation to  kamini,  which  I take  as  antitheti- 
cal to  both  taru^ae  and  balau. 

® ‘Understood  is  your  intention  — I see 
what  you  mean,’  namely,  that  the  Queen  is 


a trifle  pass^e  as  compared  with  this  tender 
bud,  Karpura-mafijari.  The  form  of  the  Jest- 
er’s statement  was  purposely  vague. 

* ‘ Maidens  are  fickle  — just  so  (emea) ! — 
but  (puno)  the  mystery  abides  with  etc.’ 
For  emea,  see  AVeber’s  Hala,  no.  865. 

® Like  Karpura-manjari,  as  contrasted 
with  the  oldish  Queen. 

9 Which  is  still  unrestrained  by  the  ex- 
periences and  the  sophistications  of  life. 

1®  A staid  matron  like  the  Queen  may 
continue  to  bear  lovely  children,  as  the  trees 
bear  lovely  blossoms ; but  she  no  longer 
knows  the  keenness  of  youthful  passion. 


ii.  493  — 


Translation. 


[262 


[Behind  the  stage.] 

One  of  the  Bards.  A pleasant  evening  to  the  King ! 

Behold,  [the  sun,]  the  jewel  of  the  day,^ 

His  face  red-yellow,  like  an  orange  ripe,* 

Hangs  on  the  crest  of  yonder  sunset-hill. 

Now  Ruddy  Goose  and  mate,  alas,  must  part:* 

Their  only  friend  hath  left  them  — he  whose  rays 
Are  myriad  strings  dyed  gorgeous,  madder-red.^ 

He  slackens  now  his  fierce  impetuous  heat, 

And  with  it  quick  the  pride  of  jealous  maids;* 

Lulls  half  to  sleep  the  eyes  of  all  the  world® 

And  drowsy  lilies  that  bestud  the  pool.’  50 

King.  At  hand  is  now  the  even-tide  — 

Jester. 

“ The  time  appointed,  as  her  friends  have  told  it.”  * [2] 

Karpura-man.tari.  Vichakshana  dear,  I’ll  go  now  ; it’s  evening. 
ViCHAKSHANA.  So  let  US  do. 

[Thereupon,  they  step  about,  and  exeunt  omnes.] 

[End  of  the  Second  Act.] 


’ The  stanza  in  outline  reads : ‘ The  sun 
(dinamani),  making  . . . , relaxing  . . . , 
possessing  a madder  . . . ray  multitude,  sole 
friend  . . . , has  become  (jao)  suuset-hill- 
situated,’  etc.  I have  reversed  the  sequence 
of  the  clauses. 

* One  is  tempted  to  think  that  a *nor- 
ange  : an  orange  : : a naddre  : an  adder : : a 
numpire : an  umpire ; but  it  appears  that  the 
n of  naranj,  naringa,  was  lost  before  the  word 
was  adopted  into  English  speech.  See  C.  P. 
G.  Scott,  Transactions  of  the  American  Phil- 
ological Association,  xxiii.  278,  272. 

* The  love  and  constancy  of  the  Ruddy 
Goose  and  her  mate  are  proverbial.  They  are 
doomed  to  pass  the  night  in  most  pitiful  sepa^ 
ration.  Hence  the  sun  is  their  “ sole  friend.” 
See  Wilson’s  Meghaduta,  note  to  82. 

* ‘ Possessing  a multitude  of  rays  which 
have  the  color  (or  gorgeousness)  of  madder- 
dyed-strings.’ 

® ‘ And  at  the  same  time  (saha  a)  relax- 
ing or  making  to  relent  (muncanto)  speedily 
(sarahasaih)  his  impetuousness  (tiwa-bha- 
vaih),  together  with  the  hearts  of  jealous- 
proud-maids.’  — Night  and  moonlight  (cp.  ii. 


h*)  put  an  end  to  their  pouting  (as  do  the 
breezes  of  spring,  i.  15*>),  so  that  they  yield  to 
the  gentle  influences  of  love.  The  same  idea 
at  iii.  30». 

* ‘ With  the  eyes  of  people  at  the  same 
time  (saha)  making  the  lotus-group  to  be 
possessing  half-sleep.’  There  is  here  a slight 
laxity  of  expression. 

’ The  day-blooming  lotuses  (kamala’s) 
that  close  their  eyes  (nimilanti)  at  evening, 
as  opposed  to  the  night-blooming  lotuses 
(kumuda’s),  that  open  their  eyes  (unmisanti) 
at  evening  — see  Kavyadar^a,  i.  94,  and 
Rtusamhara,  iii.  23. 

The  latter  are  white  and  close  their  eyes 
at  dawn,  as  appears  from  what  is  perhaps  the 
loveliest  of  all  the  stanzas  of  Kalidasa,  to  wit, 
antarhite  etc.,  near  the  beginning  of  act  iv. 
of  Qak.  — Cp.  his  Urvagi,  iii.  16. — See  Bbht- 
lingk’s  Hemachandra,  1100-1165,  p.  217. — 
With  this  stanza,  cp.  i.  35  and  iv.  18*®. 

* The  Jester  mockingly  takes  his  words 
from  the  King’s  own  mouth  (see  ii.  41*). 
The  part  that  he  quotes  forms  an  indravajra 
line,  but  in  the  dialect  of  prose.  See  p.  257, 
note  8,  and  p.  289. 


ACT  III. 


[Then  enters  the  King  with  the  Jester."] 

King.  [With  his  thoughts  on  her.] 

Put  far  away  from  me  the  champak'  bud  I 
What  use  have  I for  juicy  turmeric?* 

Of  what  esteem  is  gold  though  ne’er  so  pure? 

Before  her  loveliness,  whose  radiance  sweet, 

Is  likest  that  of  newly  risen  moon, 

What  need  of  bakul  blooms,  profuse  and  fresh?®  1 

And  again  : 

Bright  as  a necklace  strung  with  emerald  gems. 

Or  wreath  of  jasmines  where  the  bees  have  sucked, 

Her  lovely  glance,  as  quick  she  bent  her  neck,^ 

Shot  sidelong  by,®  and  pierced  my  very  heart.®  2 


Jester.  Say,  man,  what  do  you  stand  there  for,  reeling  off  your 
twaddle  like  an  uxorious  husband  ? * 


1 See  i.  14®,  IG*,  and  notes. 

* The  rhizome  of  Curcuma  longa,  a plant 
of  the  ginger  family.  It  is  u-sed  as  a condi- 
ment ; as  a dye-stuff,  it  yields  lovely  shades 
of  yellow  ; and  when  chewed,  aSects  the 
saliva  as  would  saffron.  See  Pliny,  N.  II. 
xxi.  70,  cited  by  BR. : Indica  herba,  zingiberis 
effigie,  conmanducata  croci  vim  reddit.  — In 
oU-ollai  (instr.  s.  fern,  with  hal-),  the  stem  is 
doubled. 

® ‘ What  occasion  is  there  (with,  i.e.) 
for  heaps  of  blooms  of  bakul,  though  fresh  ? ’ 
The  bakul,  Mimusops  Elengi,  Roxburgh, 
p.  318,  has  flowers  that  are  white  and  fra- 
grant. 

* ‘ With  an  impetuously  bended  neck  ’ — 
as  avyayibhava. 

® ‘ Glance,  directed  towards  (see  vig  -f  ni 
7)  in  BR. ) the  region  of  her  ear.  ’ The  coquet- 
tish glance  is  usually  sidelong  and  comes 
as  it  were  from  the  outer  comer  of  the  eye 
(apanga).  In  darting  such  a glance,  the  girl 
may  bend  her  neck  or  turn  her  head  and  so 


look  by  the  place  where,  with  her  head  in  its 
natural  position,  her  ear  would  be.  — 

One  might  suspect  here  a reminiscence  of 
Bhartrhari,who,  in  his  san-marge,  q.v.,  speaks 
of  “glance  arrows”  (drsti-banas)  which  are 
gravana-patha-gatas. 

® The  “ Sidelong  glance,”  kataksa,  etc. — 
Dandin,  in  his  Poetics,  ii.  327,  gives,  as 
example  of  vigesokti,  a stanza  which  says : 
The  women  have  no  battle-cars,  elephants, 
cavalry,  nor  foot-soldiers  ; and  yet  with  their 
sidelong  glance  (apanga-drsti)  they  conquer 
the  three  worlds. — Parab,  Subh.,  p.  434-5, 
has  some  19  stanzas  on  the  kataksa.  — See 
Bhartrhari’s  stanza,  just  cited,  = Spriiche 
6824.  Further,  Hala’s  Saptagataka,  505.  — 
See  also  ii.  5 and  my  note  on  ii.  6®. 

^ Bhajjajida,  literally,  ‘ wife-conquered,’ 
seems  to  me  in  this  connection  necessarily  to 
suggest  the  doting,  foolish,  overfond  husband, 
rather  than  the  hen-pecked  one.  For  the 
contempt  in  which  the  latter  was  held,  see 
Spriiche,  4066. 


iii.  22  — 


Translation. 


[264 


King.  My  thoughts,  man,  are  on  a vision  that  I’ve  seen  in  sleep. 

Jester.  Well  then,  old  man,  tell  it  to  me. 

King.  Methinks  a maid  with  a lily-face  stood  in  my  vision  within 
reach  of  my  hand,  and  was  about  to  strike  me  quickly  with  a blue  lotus  as 
I lay  on  my  pleasure-couch.  And  then  with  eager  haste  did  I catch  hold 
upon  the  loose  end  ^ of  her  garment.  No  sooner  2 did  she,  leaving  it  in  my 
hand,  depart,  than  2 my  sleep,  as  it  seemed,  suddenly  vanished  too.  3 

Jester.  \^Aside,  to  himself.']  Should  think  it  might  have!  \^Aloud.] 
Say,  man,  I too  saw  a vision  last  night.®  [4] 

King.  [^Expectantly.]  Tell  me  then,  what  was  the  vision  ? 

Jester.  Methinks,  last  night  in  my  vision  I fell  asleep  by  the 
Ganges.  [7] 

King.  And  then,  and  then  ? 

Jester.  Well,  then  the  Ganges  put  her  graceful  little  foot  on  the 
head  of  ^iva  and  washed  me  clean  away  with  her  water.  [9] 

King.  And  then,  and  then  ? 

Jester.  Then  by  a cloud  that  was  raining  at  the  autumn  season  to 
[its  or  my]  heart’s  content*  I was  absorbed.  [11] 

King.  A marvel,  a marvel!  — And  then,  and  then  ? 

Jester.  And  then,  when  the  lordly  sun  had  entered  the  asterism  of 
Chitra,®  the  great  cloud  went  near(?)®  the  place  where  the  Tamraparni ' 


1 ‘ With  eagerness  by  me  hastily  she  was 
held  or  caught  on  the  loose  end.  ’ 

® Ca  . . . a : cp.  ii.  47  note.  — Root  muc. 

3 Adya.  — Modem  English  distinguishes 
by  “last  night”  and  “to-night”  what  in 
Sanskrit  is  contextually  distinguished  ; thus, 
adya  asmabhir  atra  usitva,  pratah,  etc., 
‘ to-night  we’ll  stop  here,  and  early  to-morrow 
morning,’  etc. 

* Is  jadhiccham  used  airh  kolvov  (kaka- 
ksivat,  as  the  Hindus  say)  ? I see  no  great 
pertinence  in  it  in  either  case. 

6 At  the  time  of  Raja^ekhara,  the  autum- 
nal equinoctial  colure  would  be  less  than  ten 
degrees  west  of  Spica,  and  the  sun  would  be 
“in  Chitra”  in  “autumn”  (iii.  3i'). 

For  the  transformation  of  rain-drops  into 
pearls,  see  Spriiche,  .344,  1544,  4029.  Accord- 
ing to  the  stanza  samtaptayasi  (Ind.  Ant.  xiv. 
32.3 ; Spriiche,  0781  ; and  elsewhere),  the 
transformation  takes  place  under  Svati : see 


p.  214,  above.  So  in  Manwaring’s  MaraUii 
proverbs,  no.  1291:  “If  the  Svati  rain  fall, 
there  will  be  a crop  of  rubies  and  pearls,  but 
you  will  not  get  cotton  enough  for  a lami)- 
wick.”  Now  Chitra  and  Svati  have  as  their 
principal  stars  respectively  Spica  and  Arctu- 
rus ; and  at  the  time  of  Raja^ekhara,  the 
approximate  longitude  of  these  two  stars  was 
respectively  188°  32'  and  188°  65',  that  is 
practically  the  same.  The  author’s  mention 
of  Chitra,  therefore,  is  not  fortuitous,  but 
significant.  — My  thanks  are  due  to  my 
honored  colleague.  Dr.  Asaph  Hall,  for  his 
kind  help  in  matters  of  this  nature.  Cp. 
AVhitney,  Oriental  and  Linguistic  Studies,  ii. 
377,  and  his  chart  of  the  zodiac. 

® Is  antena  used  “ prepositionally  ” (like 
antarena),  here  compounded  with  its  “ gov- 
erned ” word-stem,  and  in  the  sense  of  ante, 
‘ near ’ ? 

■ Cp.  i.  17<*  note. 


265] 


Ac,t  Third. 


— iii.  5^ 


empties  into  the  ocean.  I,  too,  as  1 think,  am  within  the  cloud  and  go 
with  it.  [15] 

King.  And  tlien,  and  then  ? 

Jester.  Tlien  the  cloud  started  to  rain  there  with  great  big  drops  of 
water  ; and  the  sea-oysters,  such  as  they  call  pearl-oysters,  emerged  from 
the  waters  ^ and  absorbed  me  ; and  1 was  within  them  and  became  a 
monster  pearl. ^ [l8] 

King.  And  then,  and  then? 

Jester.  Then  in  four-and-sixty  pearl-oysters  [successively]  I was  a 
drop  of  cloud-water,  surpassing  the  opal®  in  hue,  [and  then,]  in  due 
course,  I attained  once  more  to  the  condition  of  being  a pearl,  one  of  per- 
fect roundness,^  clear,  and  flashing.  4 

So  I,  whom  you  see  before  you,®  fancy  that  my  own  self  in  the  shape 
of  a pearl,®  was  inside  of  those  pearl-oysters,  [i] 

King.  And  then,  and  then  ? 

Jester.  Then  those  pearl-oysters  were  taken  from  the  ocean  as  soon 
as  they  were  mature,  and  they  were  opened.  And  I was  among  the  four- 
and-sixty  pearls.  And  a certain  merchant  bought  me,  giving  [for  me] 
a hundred  thousand  gold  pieces,  [s] 

King.  Oh,  what  a wonderful  vision  ! And  then,  and  then  ? 

Jester.  Then  the  merchant  sent  for  the  jeweller  and  had  him 
bore  a hole  through  me."  And  that  gave  me  a little  something  of 
a pain.  [9] 

King.  And  then,  and  then  ? 

Jester.  And  with  the  pearls  of  that  lot,®  weighing  ten  mdshakas 
apiece,  a single  row  was  strung  in  necklace  style,®  and  it  was  priced  at 
ten  million  gold  pieces.  5 

King.  And  then,  and  then  ? 


1 For  the  form,  see  p.  203. 

* This  time  it  is  a pearl  of  ten  masakas 
— see  my  note  to  ii.  17‘.  See  note  5,  p.  264. 

s The  tabasheer  is  a variety  of  opal  found 
in  the  joints  of  the  bamboo. 

* ‘ I arrived  at  new-pearl-ness,  very 
round,  without  any  flat  surfaces’  etc.,  i.e. 
‘ I arrived  anew  at  ’ etc. 

* Thus  I would  express  the  force  of  so 
aham. 

® ‘With  or  by  (my)  pearl-ness.’  For 
attanaam,  see  Pischel  on  H.  3.  56. 


’ ‘Then  by  him,  fetching  the  jeweller, 
the  pearl  was  caused  to  be  drilled.’ 

* ‘ With  that  pearl-lot  (of  64  pearls), 
weighing  10  masakas  apiece.’  The  ex- 
pression is  loose ; the  adjective  is  logic- 
ally an  adjunct  of  muttahala  and  not  of 
mandala. 

® That  is,  so  as  to  form  a necklace  rather 
than  a bracelet  or  what  not : cp.  hara-latthi, 
iii.  18'>;  and  mani-yasti,  Urva9i,  iii.  10,  and 
Kale’s  note. 


iii.  52  — 


Translation. 


[266 


Jestee.  Then  [the  merchant,  whose  name  was]  Sagaradatta,  put  it  in 
his  casket  and  went  to  the  capital  of  Vajrayudha,  the  king  of  Panchrda, 
to  Kanauj ; and  there  he  sold  it  for  the  ten  million.  [3] 

King.  And  then,  and  then  ? 

Jester.  And  then. 

As  he,  [the  King  of  Kanauj,]  considered  her  towering  ample  breasts, 
and  also  the  beauty  of  the  single  string  of  pearls,  he  put  it  on  the  neck  of 
his  beloved.  — Men  of  sense  are  pleased  to  see  like  meet  with  like.  6 

Moreover : 

At  midnight’s  hour,  which  was  full  of  moonlight  resplendent  through- 
out the  sky,  in  love’s  embrace  the  royal  pair  had  closed  their  eyes  for 
terror  at  the  shaft^  of  the  Flower-arrowed  God.  Then  by  the  plumpness  ^ 
of  her  exceedingly  towering,  full,  and  jar-like  breasts  was  I sore  beset  — 
[and  so]  awoke  ! 7 

King.  [ With  a faint  smile.,  and  then  reflecting.'] 

You  knew  that  this  vision  of  mine,  in  which  I met  with  her  whom  I 
love  as  my  life  (^pdna-samd-^,  was  unreal ; and  so  you  thought  you  could 
dismiss  it  from  my  mind  by  your  counter-vision.®  8 

Jester.  A decayed  chieftain,  a brahman  exhausted  with  hunger,  a 
naughty  young  wench,  and  a forsaken  man, — these  beguile  themselves 
with  the  sweetmeats  of  wishes.^  And  I ask  you,  man,  whose  jiower,  now, 
is  that?® 

King.  Love’s.  [3] 

Jester.  Although  your  love  for  the  Queen  has  grown  by  [long] 
attachment,  why,  pray,  do  you,  sir,  fairly  spreading  your  eyes  over  all  of 
Karpura-manjari’s  person,  gaze  at  her  as  if  you  were  absorbing  her  ? are 
the  Queen’s  good  points  inferior  to  hers  ? [5] 

King.  Speak  not  thus  ! 

Suppose  the  knot  of  love  is  tied  betwixt  some  man  and  some  maid;  for 
all  that,  beauty,  I think,  is  not  the  [sole]  cause  of  it.®  But  if,  even  in  that 


^ Strictly,  ‘blows,’  ‘shots.’ 

* Konow  refers  me  to  Kiratarjuniya,  iv. 
8,  where  Mallinath  glosses  nivega  by  ‘ large- 
ness, plumpness’  [of  the  breasts]. 

® ‘This  vision,  not  real,  — it,  possessing  a 
meeting  with  the  life-equal-girl,  thouknowest. 
And  by  [thy]  counter- vision,  the  warding-off 
or  dismissal  of  it  [of  my  vision]  is  thy  inten- 
tion.’ * Konow  compares  Viddh.  i.  22*. 


* That  is.  Of  whose  power  are  these 
wishes  and  longings  a manifestation  ? Eor 
the  first  two  of  the  four  cases,  pemmam  seems 
to  be  too  specific. 

* ‘ Just  under  those  circumstances  (emea, 
cp.  ii.  49»),  beauty,  inethinks,  is  not  the  [sole] 
cause  of  it’  (tattha) : but  rather,  says  the 
Scholiast,  the  working  out  of  the  inborn 
nature. 


2(37] 


Act  Third. 


— iii.  13 


case,*  the  [girl’s]  loveliness  is  much  praised,*  that  is  done  to  put  a seal  on* 
the  mouths  of  unkind-spoken  people.  9 

Jester.  But  what,  sir,  is  that  which  they  call  “ Love,  love  ” ? 

King.  The  knot  of  attachment  which  exists  between  a mutually 
united  pair,  and  which  has  grown  strong  under  the  dispensation  of  the 
Dolphin-bannered  God,  — that  the  connoisseurs  call  “Love.”  [2] 
Jester.  And  of  what  sort  is  it  ? 

King.  [Love  is  that]  in  which  the  feeling  within  the  heart  attains* 
to  sincerity  and  is  devoid  of  the  blemi.shes  of  suspicious  behavior  and 
so  forth  ; * in  which  there  is  an  on-flowing  stream  of  longing  of  each  for 
the  other  ; whose  very  essence  is  imparted  by  Cupid  and  enhanced  by 
amorous  play.  10 

Jester.  And  how  might  it  be  recognized  ? 

King.  They  whose  hearts  are  set,  each  toward  the  other,  in  utter 
commotion  by  the  unforced  flow  of  very  restless  glances  ; who  speed  ever, 
more  and  more,  the  arrows  that  Cupid  gives  them  ; — of  such  persons®  the 
heart-wound  becomes  very  easily  manifest.  11 

Jester.  That  which  has  the  outward  beauty  of  a deeply  seated 
disturbance  of  heart,  — that  the  world  calls  “ Love  with  Cupid’s  adorn- 
ment.” Hard  as  it  may  be  to  recognize,  a person  does  manifest  it  among 
people.  That  we  know  to  be  Cupid’s  very  mighty  jugglery.  12 

IMoreover,  if  the  love  that  is  in  the  heart " [of  the  one]  awakens  [in  the 
other  a corresponding]  attachment,  what  occasion  is  there  in  that  case 
for  the  trickery  of  the  bravery  of  ornaments  ? 

King.  That’s  true,  man  ! 

What  need  of  girdles,  bracelets,  diadems,  anklets?  what  need  of 
beauty?*  and  what  need  of  the  shows  of  ornament?  [There  is  no  need 


1 Where  beauty  is  not  the  sole  cause  of 
the  attachment. 

2 As  an  ostensible  reason  for  the  love.  — 
Since  mah  is  not  necessarily  = kahks  (see 
Pischel,  H.  4.  192),  I suppose  I am  justified  in 
connecting  mahijjai  here  with  Vedic  mah 
(‘is  extolled,  is  magnified’),  and  not  with 
manth,  Marathi  mathanem  (‘  is  revolved,  con- 
sidered, taken  into  account’). 

® ‘Then  (tarn,  correlative  to  jam,  ‘if ’)  a 
seal  is  put  on’  etc.  ^ Ei,  that  is,  eti. 

® ‘ Of  suspicion-behavior  and  so  forth,’ 
viappa-ghadana-ai-. 

® ‘ Of  what  persons,  possessing  hearts 


completely  agitated  by  glances  which  are 
nature-flowing  and  very  restless,  the  send- 
ings-forth  of  the  Cupid-given -arrows  increase, 
— of  them  ’ etc. 

In  this  version  I follow  NR,  reading 
(instead  of  luntia,  ‘ robbed  ’)  lunthia,  ‘ agi- 
tated.’ I take  peranta-lunthia  as  ‘ boundarj'- 
agitated,’  ‘agitated  to  their  very  limits.’  — 
See  OB.  under  tar  -|-  vi  5). 

’ For  mana  and  citta,  occurring  together 
at  iii.  12»’'  and  iii.  11,  there  seems  to  be  but 
one  available  English  word,  namely  ‘ heart.’ 

® Neither  gewgaws  nor  beauty  signify  much 
where  the  passion  is  mutual.  Canga  and  its 


iii.  13  — 


Translation. 


[268 


of  all  that.]  And  so,^  in  this  world,  it  is  something  else^  which  puts  the 
flowers  of  happiness  in  the  grasp  of  fair  maidens.  13 

And  again  : 

What  need  of  the  performance  of  song  and  dance  ? and  what  need  of 
strong  drink  ? what  need  of  incense  of  aloes  ? and  what  need  of  saffron  ? 
— On  all  the  earth  in  daintiness  naught  else  can  equal  man’s  tender 
passion.®  14 

And  again  : 

The  consort  of  an  emperor  and  the  wife  of  a common  man,  — in  the 
matter  of  love  there  is  not  even  a grain  of  distinction  between  them  to  be 
found,  methinks,  [even]  if  a certain  difference  in  outward  splendor  is 
effected  by  rubies  and  decorations  and  garments  and  saffron.  15 

And  again  : 

Why  speak  of  restless  eyes  — of  face  like  to  the  moon  — of  towering 
breasts  ? There  is  some  other  reason  here,  I think,  why  women  from  our 
hearts  ^ do  ne’er  withdraw.  16 

Jester.  That  is  so.  But  explain  to  me  another  thing  : [Even  in 
that]  which  during  childhood  is  unattractive  to  the  heart  of  a man,  — 
even  in  that,  with  [the  attainment  of]  adolescence,  a certain  beauty 
develops  itself.  [2] 

King.  Surely  there  must  be  here  in  the  world  two  Creators  who  are 
skilful  in  building  the  body  and  in  giving  it  the  bloom  of  youth:  the 
one  fashions  the  first  girlish  form  ; while  the  second,  by  giving  it  the 
finishing  touches,®  brings  out  its  loveliness.®  17 

And  therefore  : 

Bejewelled  bracelets  and  girdles  and  anklets,  beauty  of  dress,  strings 
of  emerald  gems,  mineral  rouge,^  a necklace  of  pearls, — [all  those  things] 


derivatives  are  used  of  natural  beauty  — cp. 
nisagga-canga,  ii.  25^,  and  paai-cangima,  ii. 
26'.  As  to  the  form  (instr.  s.  fem.,  from  Skt. 
an-stem  !),  cp.  umha  cited  by  Jacobi,  § 42,  2). 
1 1 take  tarii  as  ‘ and  so.  ’ 

2 ‘There  is  of  fair-waisted  maids  some- 
thing else  [than  gewgaws — namely,  native 
attractiveness],  by  which  they  get  the  flowers 
of  happiness.’  Or,  suhaattana  may  be  the 
ensemble  of  womanly  charms  that  draw  and 
hold  fast  her  lover’s  heart. 

8 1am  not  sure  that  I have  hit  just  the 
right  meaning  of  ruccissa  : nor  do  I see  the 
appositeness  of  punu. 


‘ Ablative  singular  or  plural,  H.  3.  8,  0. 
8 ‘ By  carving  it  or  sculpturing  it  (Scho- 
liast, utkirya),  by  putting  on  the  nicer 
touches  ’ as  contrasted  with  the  first  or 
rougher  “fashioning”  (ghadana).  The 
Marathi  kandaranem,  cited  by  Dr.  Konow, 
is  an  instrument  used  for  the  finer  work  of 
goldsmiths  and  others. 

6 ‘ Makes  fully  manifest  (the  form),  dis- 
plays it  to  advantage.  ’ 

’ Properly,  gairika,  which  is  usually  de- 
fined as  ‘ruddle,  red  chalk.’  But  Ilema- 
chandra,  1036,  makes  it  a synonym  of  dhatu, 
and  this  is  a liquid  mineral  which  wells  up 


269] 


Act  Third. 


— iii.  2Q3 


are  surpassed  by  the  youthful  bloom  of  maidens^  whieh  is  the  spell  that 
fascinates  the  heart,  and  is  a sixth  arrow  of  Cupid, ^ and  a charming  one. 
Moreover  : 18 

A form  full  of  loveliness,  eyes  that  reach  almost  to  the  ear  and  have 
large  pupils,  a bosom  with  ample  breasts,  a waist  that  has  the  triple  folds 
and  may  yet  be  grasped  by  the  fist,  wheel-like  buttocks,®  — pray  what 
need  of  aught  else  in  the  time  of  tender  youth  ? Just  these  five  things 
put  into  maidens’  hands  Cupid’s  great  banner  of  victory.^  19 

[Behind  the  stage  (is  heard  the  Heroine,  saying :)] 

Friend  Kurangika,  I am  really  languishing  by  reason  of  these  refriger- 
ants, as  a lotus  [languishes  by  reason  of  the  arrival  of  the  torrid  season 
that  calls  for  the  use  of  refrigerants]. 

A shoot  of  lotus-root  [to  me]  seems  like  poison ; a string  of  pearls 
seems  like  a poisonous  serpent ; the  breeze  from  the  palm-leaf  fan  seems 
to  spread  flames  ; ® likewise  the  water  from  the  jets  of  the  shower-bath  as 
it  comes  out  on  my  hand  is  hot ; and  not  the  sandal,  that  sovereign 
remedy  [against  heat],  allays  the  burning  of  my  frame.®  20 

Jester.  Did  the  old  man  hear?  are  his  ears  loaded  with  a jowl-full 
of  the  nectar  ? ' [2]  will  he  then  even  today  take  no  notice  of  his  lotus 
root  ® that  is  languishing  by  reason  of  the  intense  heat  ? of  his  saffron 
dolly  that  he  has  to  play  with,®  that  is  being  sprinkled  with  most  intol- 
erably scalding  water  of  his  single  string  of  monster  pearls  that  [now] 


from  the  ground.  The  wounded  Qalya  is 
said  to  run  blood  as  the  mountain  runs  gai- 
rika,  MBh.,  ix.  13.  14  = 669.  It  is  mentioned 
at  Meghaduta,  102,  as  a pigment  (dhatu-raga); 
and  at  Kumara^sambhava,  i.  7,  as  a sort  of 
liquid  mineral  color  (dhatu-rasa) , such  as 
might  be  used  to  inscribe  love-letters  on 
birch  bark.  Cp.  my  note  on  ii.  7,  above. 
From  the  same  poem,  i.  4,  we  may  infer  that 
it  was  used  as  a cosmetic,  since  it  is  there 
mentioned  as  a decoration  for  the  nymphs  of 
heaven.  So  here. 

1 The  five  words  of  lines  db  are  nomina- 
tives absolute,  with  anacoluthon.  We  must 
repeat  them  in  accusative  form  in  d as  objects 
of  jaai. 

2 He  regularly  has  five  : cp.  panca-bana, 
pancesu,  panca-sara,  in  Index,  and  p.  239,  n.  2. 

3 We  have  had  most  of  these  most  fieshly 
details  already  at  i.  32  and  30  and  ii.  23. 


* ‘ By  just  these  five  things  maids  become 
possessing  Cupid’s  banner.’ 

s ‘ The  wind  spreads  as  it  were  its  friend.’ 
The  friend  of  the  wind  is  the  fire,  — Hema- 
chandra,  1099,  p.  444.  OB.  cites  anila-sarathi 
as  a name  for  fire  from  MBh.  i.  15.  1 = 1058. 
® Similar  thoughts  at  ii.  42. 

’’  Nectar  of  the  Heroine’s  words.  — The 
ludicrous  incongruity  of  the  metaphors  is 
doubtless  intentional. 

® Munalia,  properly  ‘ little  lotus-root.’ 
Is  it  used  in  the  sense  of  mrnalini,  ‘lotus- 
plant,’ pars  pro  toto?  At  any  rate,  it  must 
be  rendered  so  as  to  bring  out  the  jocose 
allusion  to  the  Heroine’s  own  words  at  iii.  I92. 
— Mrnalika  is  used  as  a girl’s  name  (with 
many  others)  in  the  Kadambari,  p.  356®. 

® ‘ Play  + saSron-dolly,’  — cp.  ii.  12. 

‘ Water  intensely  boiled  and  intoler- 
able,’ in  allusion  to  iii.  20®. 


iii.  203 


Translation. 


[270 


in  a trice  is  parting  ? ^ of  his  meadow  of  rose-hay ,3  that  the  musk-deer  are 
plundering? 3 [3] — Well,  your  vision  has  turned  out  true.^  Come,  let  us 
go  in.  [5]  Let  Cupid’s  bamier  be  exalted.  Let  the  strains  of  cuckoo- 
warblings  start  up  in  your  Avind-pipe.  [7]  Ease  up  with  the  floods  of 
tears.  Slow  down  with  the  torrents  of  sighs.  [9]  Let  loveliness  renew 
itself.  Let  us  go  in  by  the  back  door.® 

\^At  that,  they  make  as  if  they  were  going  m.]  [12] 


[Then  enters  the  Heroine,  loith  Kurangika.'] 

Heroine.  [Timidly — to  herself.^  Why  ! is  this  the  full  moon  sud- 
denly descended  from  the  court  of  heaven  ? [15]  or  has  the  Blue-necked 
God  [^iva],  well-pleased,  allowed  Cupid  to  resume  his  own  bodily 
form  ? 3 or  is  some  one  who  is  a rascally  foe  of  my  heart  and  a kindly 
friend  of  my  eyes  about  to  show  me  special  favor?  [Aloud. This  I 
regard  as  a piece  of  jugglery.  [l9] 

Jester.  [Taking  the  King's  hand.~\  Lady,  the  jugglery  has  become 
real.  [2i] 

[The  Heroine  stands  abashed. ~\ 

Kurangika.  Dear  Karpura-mahjari,  rise  to  meet  your  lord  and 
salute  him.  [23] 

[The  Heroine  is  on  the  point  of  rising.'] 

King.  [Taking  her  hand.~\ 

Thy  waist  is  ready  to  break  neath  tlie  burden  of  thy  bosom  : break  it 
not,  O moon-faced  maiden,  by  rising!  — Cupid  liaA'^e  mercy  on  my  eyes 
after  the  sight  of  such  ampleness  [of  breasts] ! " 21 

Moreover: 

In  presence  of  whom,  not  the  beauty  of  orpiment  hath  any  charm,  nor 


1 The  allusions  to  lotus  and  doll  were  pat 
enough.  But  the  tertiura  coinparationis  of 
this  figure  and  the  next,  Konow  thinks,  is 
merely  the  Heroine’s  anguish. 

2 The  Tabernaemontana  (see  this  in  Cen- 
tury Dic’y)  coronaria,  known  as  Adam’s 
apple  or  East  Indian  rose-bay.  It  is  a very 
fragrant  shrub,  having  shining  dark-green 
leathei-y  leaves,  “with  elevations  above  the 
veins’’  (Roxburgh,  p.  249).  Its  PiAkrit 
name,  “knot-leaf,”  may  refer  to  this. 

® No  jealous  rival  of  the  King  has  turned 
up  thus  far.  — But  see  Kouow’s  view,  note  1. 


* Only  in  the  most  general  way  (cp.  iii. 
3):  he  met  her  in  the  dream,  and  now  ho 
meets  her  in  fact. 

6 For  the  full  significance  of  this  clau.se 
and  the  following  stage-directions,  as  I under- 
stand them,  see  p.  219-220. 

® Cupid  was  burned  by^the  fire  of  Qiva’s 
wrathful  glance  and  is  therefore  called 
“ Bodiless  ” or  An-anga.  The  story  is  told 
at  Ramayana,  i.  23.  10-14,  Bombay  ; or  Ku- 
mara-sambhava,  iii.  71. 

For  their  beauty  is  enough  to  blind 
me  ! — See  note  on  nivesa,  iii.  T**- 


271J 


Act  Third. 


— iii.  242 


burnished  gold,  nor  chainpak  blooms,  — with  golden  ilowers  I pay  homage 
to  those  eyes  with  which  thou,  O fawn-eyed  girl,  hast  been  beheld.^  22 
Jester.  Her  ladyship,  Karpura-manjari,  by  staying  in  the  inner 
room,  has  become  moist  with  perspiration.  So  now  I will  fan  her  with 
the  border  of  my  robe.  [*S’o  doing.']  Oh  dear!  I’ve  put  out  the  light 
with  the  wind  from  my  garment.  [4]  [^Reflecting.  — To  himself .]  Never 
mind.  We’ll  just  go  to  the  pleasure-garden.  [Aloud.]  Say,  this  is 
dancing  around  in  the  dark!  so  let’s  go  out  now  to  the  pleasure-grounds, 
just  by  the  subterranean  exit.  [9] 

\_All  make  as  if  they  were  going  out.']  [10] 


King.  [Holding  Karpitra-mahjarl  by  the  hand.] 

Keeping  thy  hand,  which  is  like  a tender  spray,  within  mine,  assume 
thou,  [I  pray,]  a little  unsteadiness ^ as  thou  movest  along  ; in  order  that 
the  kala-hahsas,  as  they  go  about  in  their  play,  may  at  last  find  a rival 
who  outmatches  them  in  comeliness.®  23 

{^Showing  by  his  demeanor  his  delight  at  the  touch  of  her  hand.] 

The  prickles  of  the  young  gourd-melon,^  the  filaments  of  the  cadamba  ' 


flower,  which  today  are  witnesses  0: 
remain  as  if  fastening  themselves  to 

\_Behind 

A Bard.  May  the  rising  moon 

1 To  whose  eyes  ? to  his  own  ? if  so,  the 
stanza  is  flat  indeed! 

* Cancura  seems  to  be  an  intensive  adjec- 
tive from  car  : cp.  cancuryate,  and  Whitney, 

§ 1148k  (jafijapa,  tartura,  etc.).  The  pur- 
pose of  the  “unsteadiness”  or  “waddling” 
is,  as  I suppose,  to  enhance  the  similitude 
of  the  girl  to  the  much  belauded  teal. 

* ‘ In  order  that  at  last  the  kala-hansa- 
group,  in  its  play-going,  may  be  uncomely.’ 

The  kala-hansa  or  kadamba  seems  to 
be  a kind  of  white  teal  with  gray  wings 
(Hemachandra,  1327).  Its  cry  is  often  spoken 
of  as  most  agreeable  (kala  — see  the  examples 
in  BR.,  s.v.  (la),  and  Hemachandra,  1409). 
It  was  tamed  and  held  in  high  esteem.  Bana 
often  mentions  it  — see  Index  to  Bidding's 
Kadambari,  p.  224. 

* Benincasa  cerifera,  like  the  pumpkin. 


[ the  touch  of  thy  hand, — these  will 
my  limbs.®  24 

the  sfo^e.] 

bring  pleasure  to  the  King. 

but  with  a waxy  coat.  I do  not  find  this  in 
Roxburgh  ; but  at  p.  700,  under  Cucurbita 
Pepo,  he  says  of  the  fruit,  that  it  is,  “when 
young,  exceedingly  hairy.”  Note  that  of  our 
common Cucurbitaceae  (cucumber,  pumpkin), 
the  fruits  are  often  sharp-prickly  and  the 
vines  hairy. 

* That  is,  the  delight  which  I feel  at  the 
touch  of  thy  hand  causes  such  horripilation 
that  the  asperities  of  these  plants  seem  to 
have  transferred  themselves  to  my  limbs  for 
good  and  all.  Cp.  note  to  ii.  46<i. 

This  conceit  of  Rajagekhara  recurs  at 
iv.  21  and  iv.  22 ; see  the  notes.  One  is 
tempted  to  query  whether  it  is  not  a reminis- 
cence of  Bana : cp.  Harsha-charita,  text 
p.  26'-8,  utkantakita-  kapola-phalakena, 
lagna-karnotpala-kesara-paksma-9akalena, 
iva  mukha-ga^ina.  See  p.  220. 


iii.  25  — 


Translation. 


[272 


While  the  round  ball  of  the  earth  is  as  black  by  reason  of  the  darkness 
as  if  it  were  in  a subterranean  chamber,  the  face  of  the  eastern  quarter  of 
the  sky  has  become  as  yellow  as  a young  birch  with  the  moonlight  ; and 
the  moon,  sending  forth  rays  that  are  like  in  beauty  to  the  tufts  of  the 
stamens  of  the  wing-seed,^  has  risen,  digit  by  digit,  till  at  last  the  full  disk 
is  above  the  horizon. ^ 25 

And  again  : 

Without  saffron,  without  sandal,^  is  the  embellishment  of  the  ten 
bride-like  regions  of  heaven  without  bracelets,  without  ear-rings,  is  the 
decoration  of  the  round  earth  without  withering,  without  fainting,  are 
the  flowers®  (or  without  “ Parcher,”  without  “ Bewilderer,”  is  the  weapon 
of  the  God  with  the  Dolphin-ensign)  a garland  of  moon-beams  is  massed 
in  the  sky.®  26 


1 Muuunda,  Pterospennum  suberifolium, 
Roxburgh,  p.  512,  a middling  sized  tree.  The 
flowers  are  white  and  fragrant  and  very  long, 
and  show  a prominent  column  of  tuiited 
stamens.  — I use  “tufts”  advisedly  for  siha. 

2 ‘ The  moon  has  gone  to  f ull-diskedness 
in  the  one-digit-manner.’ 

8 That  is.  All  the  heaven  is  made  lovely 
by  the  new-risen  moon , ‘ ‘ the  cool-rayed  one  ” : 
it  makes  the  sky  yellow,  and  that  without  the 
help  of  saffron  ; it  makes  the  air  seem  cool, 
and  that  without  the  help  of  sandal.  — This 
stanza  recurs  at  Viddh.  iii.  12. 

* The  “ten  points  ” or  “ regions  ” are  the 
four  cardinal  points,  the  four  intermediate 
points  (NE.  etc.),  the  zenith  and  nadir. 

These  are  likened  to  brides.  So  Bhartr- 
hari,  in  his  bhuh  paryahkah,  describing  the 
ascetic,  says : “His  couch  is  the  ground ; 

the  blue  sky  above  is  his  roof ; and  the  moon- 
beams he  hath  for  his  candle ; north,  east, 
south,  and  west  are  the  maidens  (dik-kanyas) 
that  fan  him  with  breezes  for  chowries.” 
Raja^ekhara  has  the  same  bold  metaphor  two 
stanzas  later,  iii.  28»,  in  dis^sundari  (if  not 
also  in  a variant  of  iii.  29,  “ dig-vadhu  ”); 
and  it  recurs  as  dik-aundari  in  Jayadeva,  Git. 
vii.  1.  Bana  speaks  of  the  “regions,”  a§as, 
as  maidens,  Kadambari,  p.  390®-^. 

® I take  bhuvana-mandali  as  ‘ round  of 
the  earth,’ = mahi-mandala  or  bhu-mandala. 
Viddh.  reads  dharani-  for  bhuvana-. 

« That  is.  In  the  cool  moon-light,  the 


flowers  are  recovering  from  the  intense  heat, 
which  “parched”  or  “withered”  them 
(agosayat)  and  which  “bewildered”  them 
or  “made  them  faint”  (?  amohayat),  in  the 
day-time. 

Since  the  stanza  is  a description  of  the 
loveliness  of  the  night  at  moon-rise  (iii.  26i), 
of  its  tones  of  color  and  its  reviving  flowers, 
it  must  be  that  the  prior  interpretation  of  line  c 
is  also  the  one  primarily  intended  by  the  poet. 

’’  From  Cupid’s  equipment  are  missing 
“ Parcher  ” and  “ Bewilderer  ” : these  are  the 
names  of  two  of  Love’s  arrows  — see  note  to 
i.  32®.  Both  of  these  names  are  included 
among  those  of  the  celestial  weapons,  partly 
allegorical,  partly  fanciful,  which  are  re- 
hearsed in  the  Ramayana,  cantos  27  and  66 
of  book  i.;  see  especially  i.  27.  14,  16  and  i. 
56.  7,  8,  ed.  Bombay.  — Love’s  arrows,  his 
bow,  and  his  missiles  are  all  formed  of 
flowers  : puspany  asya,  mti-capa.,  astrani, 
Hemachandra,  228. 

I cannot  help  feeling  that  this  alternative 
interpretation,  although  secondary  in  the 
intention  of  the  poet,  is  the  key  to  the  whole 
wretched  difiiculty  of  this  line.  The  chance 
for  a pun  has  seduced  the  author  into  using 
mohana  of  flowers  — a use  which  I cannot 
deem  unforced. — BR.,  under  gus,  cite  na 
mlayanti  na  gusyanti  kusumani. 

* The  area  of  denotation  of  avali  and  ali 
is  not  coincident  with  that  of  any  English 
word.  See  Hemachandra,  1423,  for  their 


273] 


Act  Third. 


— iii.  29 


Jester.  Well,  Kanchana-chaiulii  has  described  the  loveliness  of  moon- 
rise  ; so  now  it’s  Manikya-chanda’s  ^ turn. 

\_Behind  the  stage.'] 

The  Second  Bard.  The  pleasure-pavilions  show  circling  wreaths 
of  incense  rising  from  burning  aloes  ; they  are  ablaze  with  the  lighted 
lamps  ; ^ they  have  pendent  festoons  of  lustrous  (or  rarest)  pearls  ; ^ they 
swarm  with  doves  let  loose  ; in  them  are  prepared  charming  pleasure- 
couches,  and  hundreds  of  confidantes  are  talking  ; while  on  the  divans 
appear  the  pouting  women-folk.‘‘  27 

And  again  : 

The  moon-beams  seem  as  if  overspreading  profusely  with  camphor  the 
faces  of  those  beauties,  the  quarters  of  the  sky  ; ® they  scatter  soft  moon- 
light which  rejoices  the  heart  of  the  people  of  the  earth  as  does  sandal  ; 
they  make  the  withered  bulb  of  Love  to  sprout  anew  with  amorous  doings  ; 
and  are  like  to  jets  sent  forth  from  an  autumn  cloud.  28 

Jester. 

"Wliite  swan  of  heaven’s  pool,* 

Of  f iva’s  crest,  the  jew’l,’ 

A bulb  * of  love 

’S  the  moon  above  I 29 


synonyms,  among  which  is  mala.  ‘ Row,’ 
‘string,’  and  ‘streak’  are  among  the  more 
serviceable  English  versions  of  the  words. 

■We  find  avail  used  of  a ‘string’  of 
pearls  ; and  of  a ‘ wreath  ’ of  tresses ; but 
also  of  a ‘ set  ’ of  teeth ; and,  humorously, 
even  of  a parrot’s  two  wings,  a ‘set’  of 
wings,  iv.  2'®.  Like  its  synonym  raji,  it  is 
used  with  dhuma  of  a ‘ column  ’ of  smoke. 
Mala  is  used  of  bees,  ii.  13 ; of  curly  locks, 
ii.  20.  — 1::^=  See  Konow’s  version,  p.  289. 

1 This  designation  is  nearly  tantamount 
to  Ratna-chanda,  the  name  he  bore  at  i.  16*. 

* ‘ Ablaze  with  given  or  brought-in  lamps.  ’ 

s See  additional  note,  p.  289. 

* ‘ The  pavUions  are  possessing-divan- 
surface-appearing-jealous-women-folk.  ’ Uc- 
changa,  ‘ on  the  surface,’  = ‘ on,’  with  atten- 
uated meaning,  as  in  the  case  of  tala  = ‘ on  ’ 
and  antara  = ‘in.’ 

® ‘ The  moon-beams  (enanka-paa)  are 
giving  as  it  were  an  overspreading  (see  chur 
in  OB.)  with  floods  of  camphor  to  the  faces 


of  the  sky-quarter  beauties.’  They  flood 
things  in  every  quarter  with  a pale  whiteness 
like  that  of  camphor-gum.  — For  dik-sundari, 
see  iii.  26*  note. 

* Similarly  the  sun  is  so  called,  e.g.  Da^a- 
kumara-charita,  p.  li*. 

^ For  the  moon  as  Qiva’s  crest-jewel  cp. 
i.  3.  — The  pronunciation  of  jewel  so  as  to 
rime  with  pool  is  an  inelegance  which  ac- 
cords, as  I think,  with  the  tone  of  this  brief 
doggerel  as  intended  by  the  author. 

* Kanda,  ‘ bulb  ’ : more  specifically,  an 
‘onion.’  One  can  hardly  doubt  that  the 
Jester  takes  this  particular  word  out  of  the 
Bard’s  mouth  in  order  to  make  fun  of  it.  — 
In  the  Bard’s  stanza,  it  would  have  been  a 
little  less  prosaic  if  we  had  said  “withered 
root ; ” but  it  is  hardly  competent  to  the 
translator  to  let  the  Jester’s  allusion  dis- 
appear. Cp.  p.  262,  note  8. 

Concerning  the  rimes  in  this  and  the  fol- 
lowing two  stanzas,  see  p.  205.  — For  metre 
of  29  and  30,  see  p.  207. 


111.  30  — 


Translation. 


[274 


Kurangika.  Proud,  of  his  ally,  the  moon,^  crushing  the  pride  of 
jealous  maids, 2 with  bow  of  fresh  champak  blossoms,  Cupid  is  victor,  the 
impetuous.  30 

[2h  Karpura-manjarl.'\  My  dear  girl,  I’m  going  to  recite  to  the  King 
the  verses  which  you  made  describing  the  moon. 

\_Karpura-nianjari  stands  abashed.  Kurangika  recites.'] 

On  the  moon’s  yellowish  disk,  which  seems  to  have  stolen  its  charming 
hue  from  some  ivory  cage,^  appears  in  all  its  beauty,*  manifest,®  the 
antelope  with  which  the  disk  is  marked,®  bearing  a likeness  to  a playful 
koil.  31 

King.  Oh,  what  an  intuition  for  quite  new  conceits”  has  Karpura- 

manjari  ! what  charm  in  expression  and  pleasing  words  ! and  what  flow 
of  sentiment ! [^Addressing  the  Heroine.'] 

It  must  be  that  the  moon,  for  fear  lest  thy  [lovely]  face  be  mistaken 
for  its  own,  hath  made  — behold  ! — upon  its  own  round  disk  a black 
collyrium-mark,  disguised  as  its  '‘Fleck.’’®  32 

And  again  : 

If,  O tender-limbed  one,  thy  face  were  colored  palish  with  chalk-water, 
[and  if,]  besides,  black  collyrium  for  the  cheeks  were  put  [on  it],  — then 
it  might  mock  at  the  moon  (or,  then  its  likeness  to  the  moon  would  be 
complete).®  33 


1 ‘Possessing  pride  made  by  the  moon.’ 
The  moon  is  Love’s  most  potent  coadjutor — 
cp.  notes  to  ii.  6>>  and  50'’,  and  especially 
Kadambari,  p.  659i*. 

2 Gharatta,  is  a ‘ hand-mill  ’ such  as  the 
women  turn  in  India  — see  the  excellent  ka- 
taksa-verse,  re  re  gharatta,  Parab’s  Subh.  p. 
434,  105,  for  which  Peterson,  Subhashitavali, 
2388,  has  re  re  yantraka.  Vasudeva  says 
“crusher,”  pesana-karta. 

® Vilasa  is  ‘outside  looks’  and  also 
‘beauty’ — such  as  old  ivory  might  have. 
Cp.  Kadambari,  p.  390'i. 

^ Thus  I render  bhai. 

® And  thus  phurantao. 

® ‘ The  fleck-antelope  ’ : cp.  ii.  20,  note. 

V atthu,  ‘ the  substance  ’ (as  distin- 
guished from  the  form,  utti)  is  in  this  case 
little  more  than  a ‘ conceit,’  that  is  ‘ ingenious 
thought  or  fancy.  ’ 

® ‘ Surely  by  the  moon,  thinking  to  itself 


(tti)  [with  a touch  of  jealousy],  “Not  in 
any  wise  shall  there  be  an  error  (vibbhama) 
[occasioned]  by  the  face  of  thee,”  a black- 
collyrium-distinguisher  (visesaa)  has  been 
made  on  its  own  disk-round,  with  “Fleck” 
disguise.’  — For  the  well-known  antelope- 
spot,  see  note  to  ii.  20.  — The  position  of  tuha 
after  the  tti  is  exceptional. 

9 Either,  1.  ‘Then  it  would  attain  to 
derision  of  the  moon  (genitive),  would  get  a 
chance  to  mock  at  the  moon  ’ on  account  of 
its  superior  beauty. 

Or  else,  2.  ‘ Then  the  moon  (nomina- 
tive) would  get  a mocking,  i.e.  would  incur 
contempt.’ 

Or  else,  3.  ‘ Then  it  would  attain  to  the 

assuniption-of-the-appearance  of  the  moon.’ 

Cp.  Bhartrhari’s  vaktram  candra-vid- 
ambi,  pankaja-parihasa-ksame  locane.  Here 
the  parallelism  of  parihasa,  and  Biihtlingk’s 
interpretation  of  his  conjectural  -vidambi 


275] 


Act  Third. 


— iii.  34» 


[To  the  moon."] 

O antelope-flecked  one,  why  wanderest  thou,  nonchalant,  so  near  this 
beauty  ? Lo,  here  is  the  face  that  gave  to  thee  the  exceeding  paleness  of 
its  own  white  cheeks  ! 34 

[Tremendous  racket  behind  the  stage.  All  listen.']  * 

King.  But  what  is  this  uproar? 

Kakpuka-maSjarI.  [With  some  trepidation.~\  My  dear  girl,  [go 
and]  find  out  what  it  is  and  come  back  to  me.  [5] 

[Kurahgika  goes  out  and  reenters.] 

Jester.  Just  this  : the  Queen  has  found  out  that  my  old  man  has 
tricked  her,^  and  is  coming. 

Kurangika.  Well,  it’s  hunchbacks  and  dwarfs®  and  pigmies  and 
eunuchs  and  harem-keepers  that  are  making  the  hullabaloo,  [a] 

Karpura-maSjarL  Then  let  the  King  excuse  me,  so  that  I,  before 
the  Queen  finds  out  about  my  meeting  with  the  King,  may  go  to  my 
prison  by  the  same  subterranean  passage  by  which  I came.* 

[Thereupon,  exeunt  omnes.] 


[End  of  the  Third  Act.] 


(see  BR.  s.v.,  and  Spriiche,  6896),  support 
the  first  of  the  above  versions. 

The  second  version  amounts  to  about  the 
same  thing  as  the  first,  and  is  supported  by 
Spriiche,  453. 

Mahabala  Krishna  (gastrin,  in  his  edition 
of  the  Qriigara-^ataka,  22  (Nirnaya  Sagara 
Press,  1888),  supports  B’s  conjecture,  but 
renders  it  by  candra-anukari  etc.,  as  in  the 
third  version. 

Since  the  chalk-water  and  collyrium  only 
enhance  the  beauty  of  her  face  and  its  like- 
ness to  the  moon,  I am  unable  to  translate 
the  vi  of  jai  vi. 

1 We  may  suppose  that  the  actors  now 
fall  into  two  groups.  King  and  Jester  forming 


the  one.  Heroine  and  her  friend  forming  the 
other.  And  the  two  sets  of  questions  and 
answers  that  follow  in  dovetail,  may  be 
thought  of  as  proceeding  each  independently 
of  the  other. 

* ‘ Has  resorted  to  trickery  ’ (vancana- 
gadam),  or  ‘has  come  here  by  a trick  ’ (van- 
cana-agadam). 

* Griffiths,  i.,  p.  10  b,  speaks  of  dwarfs  as 
favorite  subjects  of  painting  and  sculpture. 
“Then,  as  now  in  India,  they  served  to 
amuse  persons  of  rank.”  Plates  29,  65,  85.  — 
Concerning  the  inmates  of  the  seraglio,  see 
Sahitya-darpana,  § 81. 

* ‘ May  go  to  my  prison,  entering  by  this 
same  subterranean  opening.’ 


ACT  IV. 


\_Then  enters  the  King  with  the  Jesteri] 

King.  Alas ! 

The  summer’s  heat  is  very  intense  ; ^ mighty  is  love  ; how  pray  is  it  to 
be  borne  ? Yet  that  fawn-eyed  girl,  albeit  in  one  and  the  same  palace 
with  me,  is  hard  to  reach,  as  fate  will  have  it.  1 


For, 

In  this  world,  by  those  who  are  under  the  power  of  the  Flower-arrowed 

God  alone,  both  these  things  indeed  are  very  hard  to  bear,  I think : the 

time  that  is  made  terrible  by  the  intense  sun,  and  separation  from  the 

beloved.2  2 

Jester.  Some  folks  are  harassed  by  Cupid,  and  others  are  wilted  by 

the  heat ; but  a chap  of  my  stripe  is  neither  harassed  by  Love  nor  wilted 

by  the  heat.  rr,,-  , , 

[Behind  the  stage.\ 


A Parrot.  Well,  won’t  Polly  tear  out  your  top-knot  by  the  roots? 
— 1 guess  ! [4] 

King.  [^Laughing.']  Man,  was  the  pet  parrot  talking  which  was 
roaming  about  at  will  in  the  pleasure-grove  ? 

Jester.  \^Angrily.'\  Ah,  you  wretch  of  a bird,  you’ll  be  cat’s  meat 

I 8 I 

^ [(The  parrot  again)  behind  the  stage-l 


There’s  nothing  I mightn’t  expect  from  the  like  of  you^  — if  I hadn’t 
a set  of  wings. ^ [lo] 

King.  Why  ! I believe  it  has  flown.  [Yo  the  Jester. 

The  nights  are  of  short  duration  and  the  days  are  waxing  long.  The 
round  of  the  moon  is  broken®  and  the  disk  of  the  sun  is  unbroken.  Why 


1 Gadhaar’,  i.e.  gadhatara-. 

2 The  thought  of  this  stanza  is  repeated  in 
different  language  at  Balar.  v.  25  and  Viddh. 
iv.  6,  as  Dr.  Konow  points  out,  p.  200. 

* ‘ Every  thing  (any  thing)  is  deemed 
possible  from  the  like  of  you.’  This  speech, 


iv.  21®,  seems  also  to  come  from  the  parrot. 
For  the  ablative,  see  p.  203.  — Cp.  V iddh.  p.  29*. 

* “Set”  seems  to  be  used  humorously  ; 
see  note  to  iii.  26‘i. 

® ‘ The  moon  attains  diminution  ’ — so 
that  it  yields  less  coolness,  as  I suppose. 

276 


277] 


Act  Fourth. 


— iv.  7 


should  not  an  arrangement  whose  course  appears  to  be  this  in  suininer 
days,  — why  should  it  not  be  broken,  then,  with  knife-points?^  3 

Moreover,^  it  is  altogether  to  be  praised  ^ if  it  bring  me  a meeting  with 
my  beloved.  For 

At  midday,  the  touch  of  sandal-paste  ; until  twilight,  moistened  gar- 
ments ;*  play  in  the  bathing-pools  until  night-fall  ; in  the  evening,  cool 
liquor;®  and  love’s  embraces  in  the  last  watch  of  a summer  night;®  these 
are  the  five  arrows  with  which  Cupid  wins  his  victories:  his  other  shafts 
are  split  and  broken.  4 

Jester.  Say  not  so.  [Say  rather:] 

A blessing  on  the  summer  days,  O friend,  because"  in  them  the  betel® 
leaves  are  overlaid  with  a palish  shimmer,  and  the  areca  nuts  are  delightful 
with  the  flavor  of  mango  oil,  and  the  sandal  is  made  [still  more]  fragrant 
with  powdered  camphor.  5 

King.  [Yes.]  And  this  too  is  pleasant  about  them:® 

Flutes,  tremulous  as  if  with  ko'il  notes,^®  are  cooling  to  the  ears  ; liquor 
with  cold  water  is  cooling  to  the  mouth ; a sweetheart  with  massive 
breasts  anointed  with  sandal  is  cooling  to  the  touch : for  any  one  there  is 
for  the  summer  days  an  antidote  that  is  altogether  cooling.  6 

And  again: 

In  the  graceful  chaplet,  an  acacia  bloom ; near  the  breast,  a necklace 
of  sinduviira  berries;  on  the  limbs,  a moistened  garment attached  to  the 
waist,  a girdle  with  blue  lotuses;  on  the  two  plantain-like  arms,^®  bracelets 
of  fresh  lotus-roots:  such  is  the  apparel  for  [enamored]  women  that  is 


1 Khanda  is  ‘ broken,  incomplete,’  or  (of 
the  moon)  ‘not  full,  gibbons’;  a-khanda  is 
‘not  incomplete,’  ‘complete’  in  form  and 
perhaps  also  in  power;  khandijjai  is  ‘be 
broken,  cut,  brought  to  nought.  ’ The  “ knife- 
points”  are  congruous  enough  with  “cut,” 
hardly  so  with  “arrangement.” 

* An  adversative  conjunction  (kim  tu  ?) 
would  be  much  more  appropriate  here. 

® ‘ It  [the  arrangement]  is  altogether 
(niunam)  to  be  praised’  (glagh). 

♦ OU-ahsuam:  cp.  iv.  7>>. 

s Cp.  my  note  to  i.  22  and  the  lampoon 
there  quoted. 

® Cp.  Ravana-vaha,  ed.  Goldschmidt,  xii. 
13.  — Jam  kim  pi  = ‘ some,  a little, ’ with 
nihuvanam. 

T The  three  long  bahu-vrihis  are  “adjec- 


tives that  contain  reasons”  — hetu-garbha- 
vigesanani. 

® Piper  betle,  a perennial  creeper,  Rox- 
burgh, p.  53,  569.  “ The  leaves  are  used  as  a 

wrapper  for  the  little  pellets  of  areca  nut  and 
lime  which  are  extensively  chewed  in  the 
East.”  The  pellets  are  carried  in  boxes  (cp. 
iv.  9'®)  commonly  made  of  silver  filigree. 
See  Century  Dic’y,  under  betel  and  betel 
box.  — Areca  palm,  Griffiths,  fig.  60. 

® ‘About  them’  (ettha),  i.e.  the  summer 
days. 

1®  ‘ Having  koil-notes  and  wavy.  ’ The 
“waviness”or  tremolo  efiect  that  may  be 
given  to  the  music  of  the  flute  maybe  sup- 
posed to  suggest  liquidity  and  so  coolness. 

Cp.  iv. 

^ Cp.  my  note  to  ii.  14*>. 


iv.  7- 


Translation. 


[278 


likely  to  be  prescribed  ^ by  the  physician  [who  treats  the  disease]  of  love,^ 
as  the  sole  charm  against  the  pains  of  the  heat  when  the  spring  season 
melts  into  summer. ^ 7 

Jester.  And  I say,  moreover  : 

Of  women  who  at  midday  are  anointed  with  smooth,  thick,  sandal- 
paste,  who  bathe  the  whole  evening  through,^  who  in  the  nights  are  be- 
sprinkled with  drops  of  water  that  come  from  the  punkahs,  — of  such,  the 
Five-arrowed  God  accomplishes  the  enslavement.  8 

King.  \Making  as  if  he  were  recollecting  something. 

For  those,  to  whom  is  given  complete  union  with  a person  lovely  with 
the  combination  of  garb  and  fresh  beauty,®  — for  them  the  nights  and 
days,  though  long,  go  by  like  a twinkling  ; and  to  whose  sore-pained  heart 
these  [days]®  bring  not  even  to  a small  degree  the  delights  of  love,  — for 
them  the  days  give  birth  to  [vain]  wishes  only  and  drag  by  as  if  they 
were  each  a month  long.  9 

\^Addressing  the  Jester. Is  there  any  news  about  her? 

Jester.  Yes,  there  is.  Listen,  old  man  ! Here’s  a joke  for  you.  [5] 
The  subterranean  passage  that  was  made  to  Karpura-manjari’s  prison,  was 
discovered  by  the  Queen.  Then,  with  a pile  of  huge  stones,  she  closed  up 
the  entrance  to  the  passage  so  that  no  one  could  slip  through.^  [7] 

Five  chowry -holders,  girls  with  names  ending  in  send,  Anahga-sena, 
Kama-sena,  Kalihga-sena,  Vasanta-sena,  and  Vibhrama-sena,  with  noisily 
brandished  swords  aad  shields  in  their  hands,  were  appointed  to  keep 
guard  over  her  prison  on  the  east  side.  [8] 

Five  ladies  in  waiting,  with  names  ending  in  lehhd,  Ananga-lekha, 
Chandana-lekha,  Chitra-lekha,  Mrganka-lekha,  and  Vibhrama-lekha,  with 
bows  in  their  hands  and  arrows  on  the  string,  were  set  [to  keep  guard] 
on  the  south  side.  [9] 


1 ‘ To  be  offered  or  brought  into  service  ’ 
— root  ni  + upa. 

2 Or,  ‘ by  the  Cupid-physician,’  ‘ by  Dr. 
Cupid.  ’ But  perhaps  this  would  be  too  jocose 
for  the  King  in  his  present  mood.  “He’s 
got  it  bad.” 

8 ‘ At  the  going  of  the  season  of  Madhu,’ 
i.e.  of  the  season  of  spring  or  vasanta.  This 
consisted  of  the  months  March-April  and 
April-May,  whose  older  names  were  Madhu 
and  Madhava  (see  p.  214,  or  Whitney,  JAOS. 
vi.  414,  and  cp.  note  to  ii.  6^*).  Vasanta  is 
followed  by  grisma,  ‘summer,’  but  the  text 


does  not  show  here  how  far  the  summer  has 
progressed.  — This  costume,  at  all  events,  is 
light. 

* ‘ Possessing  practised  interval-less  bath- 
ings in  the  evening.’ 

8 1 take  ghadana  as  ‘ combination  ’ — see 
OB.  And  to  bhahgi  I assign  the  meaning 
‘ Art  und  Weise  sich  zu  kleiden  ’ ( = ‘ garb  ’) 
given  it  by  OB.,  s.v.,  with  a citation  for  it  in 
that  sense  from  our  poet. 

* Or,  ‘These  burning  days,’  samtavino. 

’’  ‘ The  entrance  was  closed  by  the  Queen, 
making  (kr)  it  hole-less.’  See  p.  220. 


279] 


.1  t Fourth. 


— iv.  10 


lietel-box  bearers,^  girls  with  names  ending  in  maid.,  Kunda-mala, 
Kanchana-niala,  Bakula-inala,  Mangala-mrda,  and  Manikya-mfila,  carrying 
lances  in  their  hands,  were  stationed  [to  keep  guard]  on  the  west  side.  [lO] 
Hath-keepers,  girls  with  names  ending  in  kell.,  Anaiiga-kell,  Barkara- 
keli,2  Sundara-keli,  liaja-keli,  and  Kandarpa-keli,  holding  shields  and 
swords,  took  their  places  ® on  the  north  side,  [ll] 

And  over  [all]  those,  five  reciters  of  witty  sayings,  girls  with  names 
ending  in  rati,  Mandaravatl,  Tarangavatl,  Kallolavatl,  Madiravati,  and 
Kelivati,  Avere  appointed  as  overseers,  each  with  a bright  golden  staff  in 
her  hand.  [12] 

King.  Well,  well!  that’s  the  entire  personnel  of  the  Queen’s  apart- 
ments ! 

Jester.  Here’s  the  Queen’s  friend,  Sarangika,  sent  with  some  mes- 
sage from  her.  [l4] 

° [^Then  enters  Saraufftia.]  [15] 

Sarangika.  Victory,  victory  to  my  lord  ! The  Queen’s  message  is 
that  today  the  King  must  mount  to  the  terrace  of  his  pleasure-palace  and 
inspect  the  preparations  and  accessories  * for  the  great  festival  of  the  Deity 
of  the  Banyan.®  [18] 

King.  As  the  Queen  directs  ! 

[Exit  the  attendant."]  [20] 


[King  and  Jester  step  about,  making  as  if  they  were  ascending  to  the  terrace.  Then  begins 

the  charcharl.^]  [22] 

Jester.  Behold,  these  maidens,'  richly  adorned  with  pearls,®  at  the 
close  of  the  dance  but  scantily  attired,  are  sprinkling  each  other  with 


1 The  royal  betel-box,  umbrella,  etc., 
were  often  borne  by  regularly  appointed  of- 
ficers. See  for  example,  in  BR.,  the  com- 
pounds of  tambnla  ; and  cp.  note  to  iv.  5». 

2 See  Zachariae,  Maukhako5a,  Nachtrage. 

*I  suppose  adhatta  (=arabdha,  H.  2. 

138)  means  ‘ fassten  Fuss.  ’ 

* Uvaarana  seems  to  imply  all  this. 

® The  deity  supposed  to  reside  therein 
during  the  vata-savitri-vrata.  The  time  of 
this  observance  is  given  as  the  full  moon  of 
Jyaistha  by  the  Vratarka.  I have  a litho- 
graphed edition  of  the  Vratarka,  Benares, 
1931  (a.d.  1875)  ; and  its  treatment  of  the 
matter  begins  on  folio  121,  reverse,  line  11. 
— Or  see  Nirnaya-sindhu,  II.,  folio  11a,  3. 


— Or  see  Hemadri,  Chaturvarga-chintamani, 
Vratakhanda,  xxi.,  p.  273*. — My  pupil,  Mr. 
Albert  Henry  Allen  of  San  Francisco,  has 
prepared  a well-digested  account  of  this  ob- 
servance which  will,  I trust,  be  published  in 
vol.  xxi.  of  the  Journal  of  the  American  Ori- 
ental Society,  pages  53-66. 

® The  carcari  is  a peculiar  dance  (cp. 
Vikramorva9i,  act  iv.),  accompanied  by  vari- 
ous poses  as  mentioned  in  the  next  verse.  — 
Root  vi§  + pra,  in  the  sense  of  ‘ makes  its 
d6but,  begins,  geht  los  ’ ? 

’ Whom  they  see  as  they  look  down  from 
the  palace  roof. 

® ‘ Possessing  pearly-omament-accumula- 
tious.’ 


iv.  10  — 


Translation. 


[280 


water  which  they  take  with  jewelled  cups  from  the  jets  of  the  shower- 
bath.  10 

And  here  ^ 

Circling  around  with  charmingly- varied  pose  of  hands  and  feet,^  these 
two  and  thirty  dancing-girls,  — they  tread  their  mazy  rounds,  their  steps 
keeping  time  with  the  music.®  In  thy  court  is  seen  the  “ Staff-dance.”^  11 
With  their  shoulders  and  heads  even,®  with  their  arms  and  hands  even, 
other  maidens,  each  with  clean-cut  pose,®  and  ranged  in  two  rows  each 
facing  the  other,  are  rendering  the  c7ta?Zi-dance  ~ and  regulating  its  tempo 
by  the  beaten  measure.®  12 

Still  others,  quitting  the  jewelled  cups,  throw  [direct]  from  the 
showering-machine  the  jets  of  water.®  These  — fair  as  Cupid’s  arrows, 
though  consisting  only  of  water  — fall  on  the  person  of  friends  [stand- 
ing by].  13 

Here,  coquettish  girls,  their  bodies  anointed  with  blackest  collyrium,^i 


1 The  Sariigita-Ratnakara,  Ananda-a^ra- 
ma  edition,  in  its  nartana-chapter  (vii.), 
explains  many  of  the  technical  terms  that 
here  follow.  I am  unable  ,to  go  into  the  mat- 
ter in  detail,  but  give  a few  references  to  the 
book,  whose  title  I cite  as  SR. 

2 I take  bandha  as  pose  in  the  nautch. 

3 < Possessing  steps  (pada)  that  have 
followed  the  beats  ’ (tala),  that  is,  ‘ the  time 
or  measure,’  which  was  marked  by  clapping 
of  hands,  and  perhaps  also  (as  in  iv.  17“)  by 
the  rhythm  of  the  song. 

^ The  rasa  is  a rustic  dance  like  that  of 
Krishna  with  the  herdswomen.  See  Vishnu- 
purana,  v.  13.  23,  or  Hall’s  Wilson,  vol.  iv., 
p.  324  f.  — From  SR.  I cite  danda-paksa,  vii. 
642  ; danda-recita,  vii.  651 ; danda-pada,  vii. 
711,  965,  1015,  1186. 

What  the  “staff-dance”  is  I know  not. 
Perhaps  a dance  in  which  the  dancers  were 
arranged  in  “columns”  (cp.  iv.  12,  and 
danda  as  used  at  ii.  9”)?  — I recently  wit^ 
nessed,  as  part  of  a light  entertainment,  a 
“cane-dance,”  in  which  a negro  performer 
held  a staff,  and  struck  the  floor  rhythmically 
with  it,  in  time  with  his  feet.  — Has  it  aught 
to  do  with  the  “staff-dancer”  of  the  Qata- 
patha-brahmana  ? see  Eggeling,  Sacred  Books 
of  the  East,  44.  417. 

>’  Sama  seems  to  be  a technical  term  for 


‘ in  a natural  position.  ’ Svabhavena  sthito 
bhumau  samah  pado  ‘ bhidhiyate,  SR.  vii. 
316.  Konow  cites  Natya-gastra,  x.  13. 

® OB.  defines  rekha  as  ‘ correct  pose  of 
all  the  limbs  in  dancing.’  “ Pose-clear,” 
“ with  clean-cut  poses,”  may  be  an  avyayi- 
bhava,  or  else  an  adjective  with  callim. 

’’  SR.,  vii.  1215,  enumerates  ten  rustic 
dances.  The  first  is  cali : it  is  “ not  too  fast 
nor  too  slow”  (in  the  madhya-laya) ; and  is 
characterized  by  the  “ simultaneity  ” (yauga- 
padya)  of  the  movement  of  the  feet,  thighs, 
waist,  and  arms.  The  same  dance,  performed 
quickly  and  with  the  dancers  facing  each 
other,  is  called  calivada. 

8 ‘ The  calli,  possessing  a connection  of 
tala  and  tempo  ’ : that  is,  ‘ whose  tempo  is 
regulated  by  the  tala’  (.see  above).  The 
layas  or  tempi  are  fast,  middling,  and  slow.  . 

9 ‘ Others  throw  jet-water  by  means  of 
the  jantas.’  They  don’t  use  the  cups,  just 
mentioned  at  iv.  10  ; but  perhaps  they  put 
their  fingers  partly  over  the  orifices  of  the 
jantas  so  as  to  make  the  water  squirt  directly 
on  their  playmates.  See  muc. 

19  ‘These  (tao  — sc.  dharao,  ‘jets’),  hav- 
ing a beauty  [a.s]  of  water-arrows  of  Cupid.’ 
Konow  cites  Viddh.  iii.  25>>. 

u ‘ Possessing  lampblack-collyrium-black- 
bodies.’ 


Act  Fovrth. 


iv.  18’1 


281] 

liokling  triple  ^ bows,  and  adorned  with  tail-feathers  of  peacocks,  are 
parading  about  as  savage  inountaineers,^  [and  so]  making  sport  for  the 
people.  14 

Yet  others,  hearing  in  their  hands  offerings  of  liunian  flesh,  and  terri- 
ble with  their  groans  and  shrieks  and  cries,  and  wearing  the  masks  of 
night-wandering  ogresses,  are  enacting  a cemetery-scene.  15 

And  one  fawn-eyed  girl,  sounding  the  drum  that  makes  you  shudder,^ 
and  with  the  pleasant  noise  of  a tambour,  with  her  creeper-like  arms  alter- 
nately^ swaying,  has  started  to  execute  the  performance  of  the  challi.  16 
Others  are  performing,  as  might  a fay,  a graceful  dance  in  tempo,*’  with 
a jingling  made  by  their  bells,  with  the  measure  regulated  by  the  tempo 
of  vocal  music,®  and  with  the  clear  tinkle  of  anklets.  17 

Still  others,  their  garments  a-flutter  by  reason  of  their  eagerness, 
intently  playing  the  flutes,  and  setting  the  people  a-laughing  by  their 
dark  dress,  recede,  bow,  and  laugh.  18 


[Enters  Sdrariffti'd.] 

Sakangika.  [^Looking  before  her.^  Here  is  the,  King,  who  has  come 
from  the  Emerald  Seat^  into  the  Plantain  Arbor. — Well,  I’ll  go  to 
him  and  announce  the  Queen’s  message.  [4]  \_Approaches.~\  Victory, 
victory  to  my  lord  ! The  Queen’s  message  is : “ This  evening  I will 

bring  it  about  that  you  shall  lead  a new  bride  around®  the  nuptial 
fire.”  [7] 

Jester.  But  Lady!  what  means  this  shower  of  watermelons®  from  a 
clear  sky  ? 

King.  Sarangika,  explain  it  all  in  full.  [9] 

Sarangika.  You  shall  hear.  On  the  fourteenth  day,^®  just  past,  the 


1 “ Triple  ” : made  in  three  pieces  ? 

* IlouXi'i'dat  aypiotpiyoi,  Ptolemy,  vii.  1. 64. 
s SR.  treats  hudukka  at  vi.  1072.  Moles- 
■worth  defines  it  as  a small  drum,  shaped  like 
an  hourglass.  It  is  held  in  the  hand  and 
rattled.  — Is  not  this  the  drum  formed  of  the 
tops  of  two  human  skulls  cut  in  bowl-shape 
and  with  skin  stretched  across  the  bowls,  and 
set  crown  to  crown  ? Clappers  are  fastened 
to  it  by  thongs  a few  inches  long,  so  that  if 
you  grasp  the  constricted  part  and  twist  the 
wrist,  the  clappers  thump  the  membranes.  — 
See  root  vad. 


♦ Contradicts  yaugapadya,  p.  280,  note  7. 

® ‘Perform  tempo-dance-grace.’ 

® For  jantia,  see  under  y antra-.  — Cp. 
note  to  iv.  ll'>. 

^ See  page  254,  note  1. 

® See  root  ni-pari. 

® Properly,  ‘white gourds,’  the  Benincasa 
cerifera  of  iii.  24  — see  note.  Cp.  p.  205  end. 

Of  the  bright  fortnight  of  Jyaistha ; see 
p.  216.  Cp.  Kadambari,  p.  128®,  where  the 
Queen  goes  to  pay  homage  to  Qiva  “ on  the 
fourteenth  day”  of  the  month.  Gauri  is 
Qiva’s  consort. 


iv.  18“ — 


Translation. 


[282 


Queen  had  Bhairavananda  make  an  image  of  Gauri  bejewelled  with  rubies 
and  set  it  up.  [li]  And  he,  the  master  Magician,  was  consulted  by  the 
Queen,  after  she  had  begun  the  observances  for  its  consecration,  with 
regard  to  the  matter  of  a reward  for  [him,  as]  her  preceptor.  And  he 
replied : “ If  you  absolutely  must  give  a reward,  then  I suggest  the 
following.”!  To  which  the  Queen  said,  “As  your  Reverence  directs.” 
[i6]  And  he  continued  and  said:  “There,  in  the  Lata  country,^  is  a 
King  named  Chandasena.  He  has  a daughter  named  Ghanasara-maujari.^ 
She  has  been  pointed  out  by  the  astrologers  as  destined  to  become  the 
consort  of  an  Emperor.  [20]  So  the  King  must  marry  her,  in  order  not 
only  that  the  preceptor  may  not  fail  of  his  reward,  but  also  that  your 
husband  may  become  an  Emperor.”  [22]  Then  the  Queen  laughed  and 
said,  “As  your  Reverence  directs.”  And  I was  sent  to  make  the 
announcement.  And  the  reward  to  the  preceptor  has  been  given.  [25] 
Jester.  \Laughing.'\  Here’s  an  instance  of  that  old  saw,  “Snake 
on  your  head  — and  the  doctor  away”  (or  in  some  other  country).* 
The  wedding  is  [set  for]  today  and  here,  while  Ghanasara-manjari  is  in 
the  country  of  Lata.  [28] 

King.  Have  you  never  seen  Bhairavananda  show  his  magic  power  ? ® 
Sarangika.  [Continuing  her  message.]  The  Queen  has  had  a 
sanctuary  to  Chamunda®  built  at  the  foot  of  the  banyan  that  stands  in 
the  middle  of  the  pleasure-garden.  [30]  And  Bhairavananda  is  going 
to  meet  the  Queen  there.  And  in  the  hall  of  state  which  is  there  situ- 
ated and  has  just  been  put  in  readiness  for  it,  the  wedding  is  to  take 
place.  [/S'o  saying.,  she  steps  about  and  exit.~\  [33] 

King.  Man,  I have  a notion  that  this  is  all  a blooming  job  of 
Bhairavananda.  [34] 

Jester.  That’s  a fact.  Nobody  but  the  moon  — you’d  better  be- 
lieve — can  make  the  moonstone  statue  to  ooze  or  the  [night-blooming] 
gephalika  to  blossom  profusely.®  [36] 

1 ‘ Then  let  this  [reward]  be  given.’  ® (^iva’s  consort,  in  a terrible  form. 

* For  Lata,  see  p.  214.  ’ The  moonstone  is  a fabulous  gem,  sup- 

® See  iv.  20^®  and  note.  posed  to  ooze  or  deliquesce  under  the  moon’s 

^ The  proverb  is  discussed  elaborately  rays  : cp.,  for  example,  Kadambari,  p.  395®. 
and  interestingly  by  Pischel,  Festgruss  an  The  “Thirty-two  tales  of  the  throne’’ 

Roth,  p.  116.  Cp.  Bbhtlingk,  Berichte  der  arc  related  by  32  heavenly  nymphs  who  have 

sachsischen  Gesellschaft,  1894,  xlvi.  7.  been  transformed  into  statues  (puttalikas)  of 

® For  if  you  (the  Jester)  have,  you  know  moonstone:  see IndischeStudien,xv. 442,294. 
he  can  bring  the  bride  here  in  a trice.  * None  but  the  M.agician  could  bring  all 


283] 


Act  Fourth. 


— iv.  19»> 


[£«/ers  the  Magician.']  [37] 

Bhairavananda.  Here  is  the  Chiimundii  idol  serving  to  screen  the 
[new]  entrance  which  has  been  opened  from  the  root  of  this  banyan  to 
the  subterranean  passage.  ^ [He  stretches  out  his  hand  to  it  in  tvorship,'] 
[saying  to  Chaiuunda,  or  rather,  saying  of  lier:] 

A dissolution  of  the  universe ^ is  her  pleasure-house;  the  blood  of  the 
demons  is  her  fiery  draught;  victorious  is  Kfdi®  as  she  quaffs  it,  in  pre.s- 
ence  of  Kala,^  from  a goblet  made  of  the  skull  of  Parameshthin.®  19 

[.infers  (the  sanctuary)  and  sits  do?e».]  Not  even  yet  is  Karpura- 
manjarl  [to  be  seen]  coming  out  by  the  exit  from  the  subterranean  passage  ! 

[Karpura-manjari,  in  pantomime,  makes  an  opening  in  the  mouth  of  the  passage,  and  enters.] 

IvARPURA-MAilJAKi.  Reverend  Sir,  1 salute  thee.  [^] 
Bhairavananda.  Mayst  thou  get  a suitable  husband.  Sit  down 
right  here. 

[Karpura-mahjari  sits  down.]  [7] 

Bhairavananda.  [To  himself.'\  Not  even  yet  does  the  Queen 
seem  to  be  coming  ! ® 

[£n/crs  the  Queen.]  [10] 

Queen.  [Stepping  about,  and  looking  in  front  of  her.'\  Here  is  the 
exalted  Chamunda.  [Pays  homage  to  it.  Then  looking  about,  she  says.'] 
Karpura-manjari  here!~  Well,  what  does  this  mean?  [To  Bhdiravdn- 
anda.]  I have  this  to  tell  you  : I have  made  ready,  before  coming  to  you, 
all  things  needful  for  the  wedding  ; but  they  are  in  my  own  apartments 
of  the  palace.  So  I will  get  them  and  return  to  you.  [is] 
Bhairavananda.  Do  so,  my  darling. 

[The  Queen  takes  a few  steps  about  the  stage,  (as  if  she  were)  departing.^]  [20] 


this  about,  just  as  the  moon  is  the  only  one 
able  to  make  the  ^ephalika  bloom.  Konow 
cites  Viddh.,  p.  63*,  65*.  Cp.  ii.  50,  note  7. 

The  stage-directions  ought  here  to  add, 
iti  niskrantau,  ‘Exeunt’  [King  and  Jester]. 
Cp.  p.  221. 

* ‘ Here  at  the  banyan-tree-root  is  the 
Chamunda-idol,  a cover  of  the  [newly]  opened- 
out  entrance  to  the  subterranean  passage.’ 

* That  is,  the  scene  of  the  dissolution 
etc.  ; the  expression  is  a little  loose.  — For  a 
classification  and  description  of  the  various 
dissolutions  of  the  universe,  see  Vishnu- 
purana,  book  vi.,  chapters  3,  4,  5. 


* Or  Chamunda,  Qiva’s  consort,  in  a 
terrible  form. 

* Death  or  Time,  the  Death-god  or  All- 
destroyer. 

® ‘ From  a goblet  made  of  the  skull  of 
Brahman,’  whom  Qiva  slew  for  his  pride  on 
the  occasion  of  an  “incidental”  dissolution 
of  the  universe  (kalpa-ksaye)  as  narrated  in 
Katha-sarit-sagara,  ii.  13. 

® ‘ Not  even  yet  does  the  Queen  come.  ’ 

* See  p.  286,  note  4. 

8 The  Queen  does  not  actually  leave  the 
stage.  The  stage  continues  to  represent  the 
shrine  of  Chamunda ; but  the  audience  is  re- 


iv.  1921  — 


Translation 


[284 


Bhairavananda.  [To  himself,  laughing. She’s  gone  to  search 
Karpura-manjarl’s  apartment  ! \^Aloud.^  Karpura-manjarl,  my  daughter, 
by  way  of  the  subterranean  passage,  not  otherwise,  and  at  a quick  pace, 
do  you  go  to  your  own  apartment  and  stay  there.  — When  the  Queen 
comes  back,  you’re  to  come  back.  [25] 

[Karpura-manjarl  does  so.] 

Queen.  Here  is  the  prison-room.  [27]  [^Enters  and  looks  around. — 
To  herself.']  Well,  I am  surprised  Karpura-maiijari  here!  It’s  some- 
body that  looks  very  much  like  her  ! \^Aloud.]  Karpura-manjarl,  my 
darling,  how  are  you  feeling  ? [Pretends  to  listen  and  repeats  the  imaginary 
reply. ]^  What’s  that  you  say,  that  you’ve  just  got  a headache  ? [To  her- 
self.] Well  then.  I’ll  go  back  there  [to  my  own  apartments].  [Enters^ 
and  looks  to  one  side  and  another.]  Hallo,  friends,  be  quick  and  take  the 
things  for  the  wedding  and  return  [with  me] . [39]  [ ~With  these  words, 

she  steps  ahout.^] 

[Karpura-manjarl  enters  and  sits  just  as  before.^']  [41] 

Queen.  [Looking  before  her.]  Karpura-manjari  here!^ 

Bhairavananda.  Vibhrama-lekha,  my  darling,  the  things  for  the 
wedding  have  been  brought?  [44] 

Queen.  Certainly.  But  some  ornaments  which , would  be  suitable 
for  Ghanasara-manjari  have  been  forgotten.  So  I’ll  go  back. 

Bhairavananda.  Very  well.  [48] 

[The  Queen  acts  a little  pantomime  as  if  she  were  making  an  exit.]  [49] 


quired  to  imagine  that  it  represents  also  at 
the  same  time,  for  a few  minutes,  as  the 
action  requires,  first  the  shrine  and  the 
prison,  and  then  the  shrine  and  the  Queen’s 
apartments ; and  that  it  does  so  for  two 
occasions,  the  first  being  for  the  action  of 
iv.  19^7  39,  and  the  second  being  for  the  action 
of  iv.  19'’2-57.  See  the  Synoptic  Analysis, 

p.  221-2. 

3 This  phrase  render's  ae. 

* Literally,  ‘ in  the  air.’  This  is  a “ dra- 
matic phrase  ” (natya-ukti)  used  to  designate 
an  imaginary  reply  which  the  actor  is  sup- 
posed to  hear  and  to  repeat  for  the  benefit 
of  the  audience.  The  device  is  familiar  to 
English  readers  from  Douglas  Jerrold’s 
“Curtain  Lectures.”  There  the  unhappy 


Mr.  Caudle’s  replies  are  regularly  “ in  the 
air.”  See  Sahitya-darpana,  no.  425,  or 
Monier  Williams,  Qak.,  p.  96. 

3 That  is,  the  audience  has  to  imagine 
that  she  enters  her  own  palace-apartments. 

♦ In  order  to  indicate  to  the  spectators 
that  she  is  returning  with  her  attendants 
from  her  private  apartments  to  the  shrine  of 
Chamunda. 

5 That  is,  while  the  Queen  is  delaying  to 
get  the  things,  the  Heroine  hastens  back  by 
the  secret  passage,  arrives  before  the  Queen, 
and  so  is  discovered  seated  in  the  sanctuary, 
just  as  she  was  when  the  Queen  (sqpposedly) 
left  her  at  iv.  19'30. 

® In  the  sanctuary,  to  which  the  Queen 
is  now  supposed  to  have  returned. 


Act  Fourth. 


— iv.  20 


28r>] 


Hhaiuavananda.  Karpura-manjari,  iny  daughter,  do  just  as  you 
did  before.^  [so] 

[Exit  Karpura-manjari.']  [51] 

Queen.  [Pretending  in  pantomime  to  enter  the  prison-room.,  and  seeing 
Karpura-mafijarl.]  Well,  well,  I am  nonplussed 2 by  the  resemblance  ! 
[To  herself.]  It’s  the  magic  car  of  the  master  Magician,  which  moves 
about  through  the  air  or  through  walls,®  that  brought  her  here  ! [ss] 
Friends,  take  each  of  you  what  I told  you  to  take  and  come 
along  back  with  me.  [57]  [She  enacts  a little  pantomime  as  if  she  had 
(come  back  and)  entered  the  sanctuary  of  Chamuridd  and  espied  her  (Kar- 
pura-manjari).] Oh,  what  a resemblance  ! [59] 

Bhairavananda.  Sit  down,  O Queen.  The  King  also  has  just 
arrived.  [60] 

[Then  enters  the  King,  with  the  Jester,  and  Kurangika.] 
Bhairavananda.  Place,  place  for  the  King!  [62] 

[.‘1//  sit  down  in  due  order.] 

King.  She  is,  in  embodied  form,  a paragon  of  the  Dolphin-bannered 
God  ; she  is  a transformed  bow-staff  of  the  wild  mountaineer  “ Passion” ; 
she  is  the  light  of  the  full  moon,  abroad  by  day.®  [64] 

And  again: 

She  is  the  casket  for  the  rubies  of  a host  of  excellences;  a jewelled 
doll.  Likewise,  as  she  wanders  about,  she  is  the  flowery  beauty  of 
spring.  [66] 

Moreover: 

If  ® the  beauty  ^ of  this  maiden’s  form,  which  is  the  ensign  of  her  con- 
quest of  the  world,  comes  — in  whatever  way  ® — within  range  of  a man’s 
eyes,  then  there  takes  up  his  abode  in  that  man’s  bewildered  ® heart  the 


1 Namely,  as  at  iv.  192<-u. 

* Molesworth  gives  this  very  meaning  for 
the  Marathi  nadanem,  Prakrit  nad. 

8 ‘ Without  hindrance  or  obstruction  ’ — 
from  gravity,  walls,  or  the  like.  Cp.  note  to 

i.  3427. 

* Between  iv.  19®*  and  iv.  19®®  the  Queen 
is  supposed  to  go  from  the  prison-room  to  her 
own  apartments. 

® See  additional  note,  p.  289. 

® ‘ To  the  range  of  whose  eyes  beauty 
goes,  in  the  heart  of  that  [man]  Cupid  dwells.’ 


" I would  assign  to  reha  here  and  at  ii. 
41'  the  meaning  ‘beauty.’  The  verb  reh 
means  ‘ is  lovely,  rajate,’  in  Hala,  no.  308  ; 
cp.  H.  4.  100.  — Molesworth  defines  Marathi 
rekhala  (from  rekhanem,  from  Skt.  rekha, 
‘line’)  as  ‘neat,  comely,  pretty.’ — But  it 
may  be  that  two  words  of  quite  diverse  origin 
have  flowed  together  in  the  Prakrit  reha.  See 
additional  note,  p.  289. 

® Jaha  taha,  as  a phrase. 

® I take  vicitte  as  = Skt.  vi-citte,  ‘besinn- 
ungslos,’  not  vicitre.  Cp.  note  to  ii.  40*>. 


iv.  20  — 


Translation. 


[286 


Dolphin-bannered  God,  his  bow-staff  bent  almost  double  with  the  arrows 
on  the  string.  1 20 

Jester.  \^Aside,  to  the  King.‘^~\  You  have  made  the  old  saw  come 
true,  “ Can’t  trust  a boat  even  when  it’s  touched  the  shore.”  ^ Now  just 
cork  up ! [4] 

Queen.  [7b  Kurahgikd.^  Kurangika,  do  you  arrange  the  wedding 
costume  for  the  King;  and  let  Sarangika  arrange  it  for  Ghanasara- 
manjari.  ^ [6] 

[Thereupon  both  busy  themselves  in  pantomime  about  the  wedding  of  the  two.~\  [7] 
Bhairavananda.  We  must  summon  a preceptor.® 

Queen.  Here  stands  the  crest-jewel  of  all  learned  Brahmans,  my 
husband’s  Preceptor,  the  worthy  Kapinjala.  So  let  him  start  the  sacred 
fire.  [10] 

Jester.  Here  I am  and  ready!  Say,  man,  now  I’ll  tie  a knot  in  your  up- 
per garment.®  With  your  hand  take  the  hand  of  — Karpura-maiijari ! [l3] 

[The  Queen  utters  an  exclamation  of  surprise  and  looks  on  with  a touch  of  despondency. ~\ 

Bhairavananda.  [Well,  O King],  you  have  lost  your  head!'  for 
Ghanasara-manjari  is  only  another  name  for  Karpura-manjari.®  [l6] 
King.  \Taking  her  hand.~\ 

The  prickles  that  are  on  the  lovely  fruits  of  the  gourd-melon,®  and  on 


1 Valaia,  ‘bent  almost  into  a circle’  — 
cp.  ii.  6<i.  — For  punkhia,  see  ii.  S'!  note. 

2 Forthe  “dramatic phrase,”  see  Sahitya- 
darpana,  no.  425. 

® Here  you  are,  in  plain  sight  of  the  goal 
of  your  wishes,  like  a boat  that  has  crossed 
the  water  and  reached  the  farther  shore. 
And  yet  you  persist  in  this  sentimental  gush 
(iv.  19®Mv.  20).  I can’t  trust  you. — Root 
5vas,  passive,  impersonal,  with  locative. 

* The  Queen,  on  entering,  iv.  lO*®,  ex- 
pects to  find  the  “ Ghanasara-mafijari,” 
whom  (at  iv.  18'^)  she  had  promised  as  a new 
consort  for  the  King.  Instead,  she  finds  the 
Heroine,  iv.  19'^.  Hurrying  to  the  prison, 
she  finds  (iv.  19^®)  there  also  the  Heroine. 
Or  is  it  the  Heroine’s  double,  so  like  her  (iv. 
19®®)  as  to  deceive  the  Queen’s  eyes  ? She 
will  rather  trust  her  ears,  and  so  elicits  a 
reply  from  the  prisoner  (iv.  19®<)  and  recog- 
nizes by  her  voice  that  she  is  certainly  the 
Heroine.  On  her  return  to  the  sanctuary. 


she  finds  (iv.  19^®,  for  the  third  time)  again 
the  Heroine.  Her  second  visit  to  the  prison 
(and  fourth  finding  of  the  Heroine)  suggests 
the  suspicion,  iv.  19®®,  of  supernatural  means 
of  communication  between  the  two  places. 
And  yet,  on  her  second  return,  iv.  19®®,  it 
may  be,  after  all,  a resemblance  I — Her  per- 
plexities are  still  unsolved  when  she  bids 
Saraiigika,  at  iv.  20®,  to  array  the  bride  ; they 
reach  their  climax  at  iv.  20’ ; and  give  place 
to  unpleasant  certainty  upon  the  utterance  of 
the  Jester’s  last  word  at  iv.  20i®. 

® To  conduct  the  nuptial  ceremony. 

® The  symbolical  wedding-knot,  p.  289. 

’’  ‘ You areforgettingyourself  extremely.’ 
Cp.  Molesworth,  s.v.  bhulanem,  ‘ become 
infatuated,  lose  one’s  understanding  (by 
drinking,  through  riches,  honors,  love,  etc.).’ 
Even  the  King  is  still  in  the  dark  about  the 
identity  of  the  new  bride ! 

® See  p.  261,  n.  6 : ghanasara  = karpura. 

® The  whole  stanza  is  simply  a variation 


287] 


Act  Fourth. 


— iv.  22 


the  rows  of  leaf-petals  that  contain  the  ketaka-blooin,*  — the  touch  of 
thee,  fair  maid,  assuredly  hatli  transferred  these  to  my  limbs  as  a thick- 
set mass  of  bristling  down.^  21 

Jestek.  Come,  man,  let  the  circumambulations  ^ be  performed  and 
the  parched  grain  be  thrown  into  the  fire. 

[The  King  acts  as  if  he  were  doing  all  this.  The  Heroine  stands  abashed.  The  King,  having 
brought  the  wedding  ceremony  to  an  end,  in  happy  mood,*  saluting  all  in  fitting  manner, 
takes  his  seat  as  an  Emperor.']  [4] 

[lieh'ind  the  stage.] 

A liAKi).  May  the  wedding  feast  bring  delight  to  the  King  ! 

The  lovely  gourd-melon,^  the  fi*esh  young  bread-fruit,®  the  coral  trees,^ 
the  stalks  of  the  lotus-blossoms,®  the  bloom  of  the  ketaka  besides,  — I 
fancy  that  thy  person  must  have  taken  to  itself  by  force  the  qualities  [of 
these  plants,  because]  over  all  thy  limbs  appear  such  horripilations,  like 
unto  prickles  that  one  could  see  and  touch.®  22 


of  a theme  which  we  have  heard  — see  iii.  24 
and  the  notes,  and  iv.  22*.  For  the  gourd- 
melon  in  particular,  see  note  to  iii.  24*.  — As 
to  horripilation,  see  note  to  ii.  40**. 

* Concerning  odor  etc.  of  the  ketaka  or 
screw-pine,  see  note  to  ii.  6**.  The  leaves, 
says  Roxburgh,  p.  707,  are  closely  imbricated 
in  three  spiral  rows,  very  smooth  and  glossy, 
margins  and  back  armed  with  very  fine 
spines.  . . . The  female  flowers  have  no 
other  calyx  than  the  termination  of  the  three 
rows  of  leaves.  The  text  is  in  good  accord 
with  this  fact. — Kalidasa  speaks  of  “ketaki- 
needles,”  Rtu-saiuhara,  ii.  23. 

* * As  a thick-set  horripilation-shoot- 
range.’ — It  may  be  that  ahkura  is  to  be 
taken  as  ‘hair’  rather  than  as  ‘shoot,’ 
although  both  amount  to  the  same  thing 
here.  As  for  all,  I despair  of  finding  a fit 
English  word  for  it ; see  my  note  to  iii.  26<*. 
Perhaps  the  word  range,  considering  its 
scope,  is  as  good  as  any. 

* The  groom  leads  the  bride  thrice  sun- 
wise around  the  nuptial  fire.  See  my  San- 
skrit Reader,  p.  400. 

* Molesworth  gives  ‘ joy,  delight,  gratifi- 
cation ’ for  utsaha  : cp.  BR.  v.  1168. 

® Already  mentioned  twice : iii.  24*  (see 
note)  and  iv.  21*. 


® The  Artocarpus  integrifolia  or  jack- 
fruit:  see  Roxburgh,  p.  633.  For  pictures, 
see  Century  Dic’y,  s.v.  bread-fruit ; or  H.  \V. 
Cave’s  Picturesque  Ceylon,  volume  “Col- 
ombo,” p.  52,  and  plate  xxx,  a beautiful  one. 
In  Ceylon,  Cave  has  counted  as  many  as  80 
fruits  on  one  tree,  some  weighing  40-50 
pounds  each.  They  are  pale  green  with 
gramdated  surfaces.  Other  species  of  Arto- 
carpus, the  hirsuta  and  the  echinata,  have, 
as  their  names  imply,  very  spinous  fruits. 

^ The  Erythrina  indica:  see  Roxburgh 
(p.  541),  who  mentions  other  spinous  species. 
The  bark  of  its  younger  branches  is  armed 
with  small  black  sharp  prickles.  The  tree 
or  shrub  is  used  for  hedges  and  is  largely 
employed  to  support  the  black  pepper  vine. 
See  Century  Dic’y,  under  Erythrina. 

® The  kamala  is  the  blossom  of  the  Ne- 
lumbium  speciosum.  “Flowers  large,  and 
beautiful  beyond  description,”  says  Rox- 
burgh, p.  450.  There  are  two  varieties,  one 
with  rose-colored  flowers,  and  one  with  per- 
fectly white  flowers.  Danda  here  evidently 
means  the  peduncles.  These  “ are  armed 
with  small  inoffensive  prickles.”  Cp.  Spruche, 
2988,  6432,  2250.  — Beautiful  pictures  of 
lotuses,  Griffiths,  figs.  61-63. 

* ‘ I suspect  ill  thy  body  [this]  collection 


iv.  22^ — END. 


Translation. 


[288 


Bhairavananda.  Is  there  anything  else  that  you  would  wish  done  ? 
King.  Is  there  anything  I could  wish  better  even  than  this  ? For 
The  Queen,  although  she  now  has  a rival  in  my  affections,^  is  not 
angry  ; I have  obtained  a maiden  who  has  a face  like  the  full  moon’s  orb 
and  who  awakens  my  passion  to  new  life  ; and  I have  attained  to  the 
rank  of  Emperor!  ^ What  else  could  one  ask  for?  By  thy  favor  I have 
gained  all  that  men  think  worth  the  having.®  23 

Yet  for  this  would  I pray  : 

[Words  of  Bharata.*'\ 

May  the  forest-fire  of  Poverty,  which  day  after  day  gleams  far  and 
wide,  which  brings  to  naught  all  the  excellences  of  men  of  learning,®  be 
quenched  by  the  rain  of  the  sidelong  glances  of  Fortune  ! 24 

[Thereupon,  exeunt  omnes.'] 


[End  of  the  Fourth  Act.'] 


of  qualities  [to  have  been]  attained  by  force ; 
such  horripilations,  under  the  semblance  of 
evident  and  touched  prickles,  are  coming  out, 
continually  appearing.’  — 

Phuda,  ‘open,  manifest,  clear  to  the 
senses,  palpable.’  I take  it  as  coordinate 
with  puttha.  — Mellanti,  ‘ are  let  loose,  shoot 
out,’  equivalent  to  mucyante. — Perhaps  mcc- 
ullasa  is  ‘ uninterruptedly  arising.’ 

The  whole  verse  repeats  the  substance  of 
iii.  24  and  iv.  21  — see  the  notes. 

1 ‘ The  Queen,  in  the  position  of  rival 
wife,  is  not  angry.’ 

* ‘The  rank  of  Emperor  has  come  to 
pass.’ 


® ‘ All  that  which  is  obtained  among 
mankind.’ 

* The  author  of  the  famous  Natya-^astra : 
see  L6vi,  Theatre,  p.  297  etc.  Cp.  the  close 
of  the  Qakuntala,  of  the  Malavika  (2d  ed. 
Pandit,  p.  162>*),  of  the  Urva9i  (ed.  Kale, 
1898,  p.  146*),  and  of  the  Ratnavali  (ed. 
Cappeller,  p.  329®). 

® Sanskrit  books  make  frequent  allusion 
to  the  poverty  of  men  of  learning.  Fortuna 
has  no  fondness  for  them  — Spriiche,  2670. 
See  also  6432,  2081.  The  enmity  (vaira, 
virodha)  between  the  Goddess  of  Fortune 
(Qri)  and  the  Goddess  of  Learning  (Saras- 
vati)  is  proverbial  : Spriiche,  4086,  3941. 


Additional  Notes, 


ii.  6“.  — Swing  festival  of  Gaurl : see 
Ilem&dri  (1260  a.d.),  ed.  Bibl.  Ind.,  ii.  2, 
p.  46.3,  quoting  Devi-purana,  andole  dolayet 
(Devim);  Nirnaya-siudhu,  Benares,  1875,  ii., 
folio  2a,  6 (ibidem,  6a,  1,  swinging  of  Lak- 
shinl);  Vratarka,  Benares,  1876,  folio  15a,  11; 
Dharina-sindhu,  Bombay,  1888,  p.  31  end 
(the  festival  lasts  to  the  end  of  the  month, 
masa-paryanta).  For  andolana-vidhi,  lle- 
madri,  l.c.,  p.  745  f. 

ii.  41*,  60*. — The  “appointment”  here 
mentioned  would  seem  to  have  been  arranged 
by  Vichakshana  with  the  Jester  during  or 
before  the  scene  between  King  and  I’orteress, 
ii.  Oh  The  interval  is  “long”  to  the  King, 
ii.  6* : cp.  ii.  6**.  To  this  arrangement,  per- 
haps, the  saccam  edam  of  ii.  G*  refers.  At 
ii.  41*  the  Jester  gives  the  King  to  understand, 
if  only  in  the  vaguest  way,  that  he  is  to  meet 
the  Heroine.  I think  the  clandestine  meet- 
ing which  results  from  this  appointment 
must  take  place  in  the  night  of  the  evening 
with  which  act  ii.  closes,  since  the  meeting 
was  then  “ at  hand.”  It  cannot  be  the  meet- 
ing of  act  iii.,  which  is  some  40  days  later. 
And  the  a^oka  scene  involves  no  “ meeting.” 
— In  this  clandestine  meeting,  finally,  we 
may  see  the  occasion  of  the  culmination  of 
the  Queen’s  jealousy  and  of  her  imprisoning 
the  Heroine. 

iii.  26.  — Dr.  Konow  writes  me  that  he 
now  renders  this  stanza  as  follows : Als  ein 
Schmuck  fiir  die  Weltgegendfrauen,  ohne 
(d.h.  verschieden  von)  Safran  und  ohne  San- 
del,  als  eine  Zierde  fiir  den  Erdenrund,  ohne 
Arm-  und  Ohren-ringe,  als  eine  Waffe  des 
Liebesgottes,  die  von  Sosana  und  Mohana 


verschieden  ist  (die  nicht  versiegt  und  nicht 
bethort),  werden  die  Mondstrahlen  ange- 
hauft.  — That  is,  he  takes  the  three  nouns 
substantive  at  the  end  of  a,  b,  c,  as  in  appo- 
sition with  -avali. 

iii.  27.  — “Some  reference  should  be 
made  to  the  profusion  of  jewelled  ornaments 
of  goldsmith.s’  work  everywhere  displayed. 
Strings  of  pearls  and  precious  stones  are 
hung  on  houses,  doorways,  and  canopy- 
pillai-s,  and  worn  by  men  and  women. 
Hindu  poetry  constantly  speaks  of  them  as 
festive  decorations  of  towns  and  houses,  till 
it  is  not  surprising  that  conventionalized 
jewelry  should  come  to  be  a regular  element 
of  painted  and  carved  architectural  ornament 
(plates  6,  10,  and  13).” — Griffiths,  i.,  p.  16  a. 

iv.  lO®*'**.  — Konow  writes  me  that  these 
two  passages  seem  to  have  been  originally 
metrical  [such  was  my  own  opinion],  but 
that  he  has  not  been  able  to  restore  the 
verses. 

iv.  20.  — Since  my  note  on  reha  was 
written,  I find  that  Dr.  Konow  has  altered 
the  electroplate  of  p.  158  and  .set  up  two 
articles  reha.  — He  doubts  my  interpretation 
of  vicitte. 

iv.  20'*.  — A symbolical  tying  together 
of  the  ends  of  the  sari-like  garments  of  bride 
and  groom  is  doubtless  here  intended.  Dr. 
Konow  refers  me  to  Wintemitz,  das  altin- 
dische  Hochzeits-rituell,  Vienna,  1892,  where 
similar  customs  are  cited:  see  pages  60,  64, 
49.  The  like  still  obtain  in  Southern  India  : 
see  J.  F.  Kearns,  Marriage  Ceremonies,  etc., 
Madras,  1868,  p.  40,  57.  Cp.  also  G.  A.  Grier- 
son, Bihar  Peasant  Life,  § 1331,  1337. 


Books  for  the  Study  of  Indchlranian 
Languages 

{^Sanskrit,  Prakrit,  Pali,  Avestaii), 

Literatures y Religions,  and  Antiquities. 
Published  by  Messrs.  Ginn  and  Company, 

Boston,  New  York,  Chicago,  and  London. 


Whitney  s Sanskrit  Grammar. 

A Sanskrit  Grammar,  including  both  the  classical  language,  and  the 
older  dialects,  of  Veda  and  Brahmana.  By  William  Dwight  Whitney, 
[late]  Professor  of  Sanskrit  and  Comparative  Philology  in  Yale  Uni- 
versity. Third  (reprinted  from  the  second,  revised  and  extended) 
edition.  1896.  8vo.  xxvi+552  pages.  Cloth;  Mailing  price, 

S3. 20.  Paper  : $2.90. 

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paragraphing  of  the  first  edition  has  been  retained  throughout,  though  subdivisions  have 
been  more  thoroughly  marked. 

Supplement  to  Whitney  s Sanskrit  Grammar. 

The  Roots,  Verb-forms,  and  primary  Derivatives  of  the  Sanskrit  Lan- 
guage. A Supplement  to  his  Sanskrit  Grammar,  by  William 
Dwight  Whitney.  1885.  8vo.  xiv-f  250  pages.  Paper:  Mailing 
price,  $2.00. 

The  fact  that  the  roots  are  briefly  and  clearly  defined,  and  the  forms  conveniently 
given,  makes  this  work  useful  even  in  the  early  stages  of  Sanskrit  study.  Each  formation 
and  derivative  is  dated  according  to  the  period  of  its  appearance  in  the  literary  records  of 
the  language. 


I 


Cappeller  s Sanskrit-English  Dictionary. 

A Sanskrit-English  Dictionary.  Based  upon  the  St.  Petersburg  Lexi- 
cons. By  Carl  Cappeller,  Professor  at  the  University  of  Jena. 
Royal  8 VO.  Cloth,  viii -f  672  pages.  By  mail,  $6.2$. 

This  dictionary  covers  a wide  range  of  Sanskrit  texts.  It  is  accurate,  sufficient,  and 
brief.  Typography,  paper,  and  binding  are  excellent.  The  size  is  truly  handy ; the  price, 
small.  The  author  had  already  published  a Sanskrit-German  Dictionary.  This  Sanskrit- 
English  one,  therefore,  has  practically  the  advantage  of  being  a second  edition,  and  is  an 
improvement  upon  its  German  original  in  many  ways. 

Lanman^s  Sanskrit  Reader. 

A Sanskrit  Reader:  with  Vocabulary  and  Notes.  By  Charles  Rock- 
well Lanman,  Professor  of  Sanskrit  in  Harvard  University.  For  use 
in  colleges  and  for  private  study.  Royal  8vo.  Complete  : Text,  Notes, 
and  Vocabulary,  xxiv  + 405  pages.  Cloth : Mailing  price,  $2.00. 
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This  Reader  is  constructed  with  especial  reference  to  the  needs  of  those  who  have  to 
use  it  without  a teacher.  The  text  is  in  Oriental  characters.  The  selections  are  from  the 
Maha-bharata,  Hitopadepa,  Katha-sarit-sagara,  Laws  of  Manu,  the  Rigveda,  the  Brah- 
manas,  and  the  Sutras.  The  Sanskrit  words  of  the  Notes  and  Vocabulary  are  in  English 
letters.  In  the  Vocabulary  great  pains  have  been  taken  to  show  how  secondary,  tertiary, 
and  later  meanings  have  grown  out  of  the  original  meaning,  and  to  illustrate  these  transi- 
tions of  meaning  by  analogies  from  the  English  and  other  familiar  tongues,  and  to  enable 
the  student  to  trace  every  form  back  to  its  root  by  means  of  references  to  Whitney’s  chap- 
ters on  word-formation,  and  by  giving  the  root  itself  and  the  intermediate  forms.  Etymo- 
logically kindred  words  from  the  Greek,  Latin,  Anglo-Saxon,  and  English  are  given  along 
with  their  meanings.  The  Notes  render  ample  assistance  in  the  interpretation  of  difficult 
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given  concise  literary-historical  introductions  to  a number  of  the  most  important  branches 
of  the  literature. 

Sanskrit  Text  in  English  Letters. 

Parts  of  Nala  and  Hitopadega  in  English  Letters.  Prepared  by 
Charles  R.  Lanman,  Royal  8vo.  Paper,  vi  -f  44  pages.  Mailing 
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and  to  do  some  reading,  without  first  troubling  himself  to  learn  the  Nagarl  alphabet. 


2 


Perry's  Sanskrit  Primer. 

A Sanskrit  Primer : based  on  the  Leitfaden  fiir  den  Elemeniar-cursus 
des  Sanskrit  of  Prof.  Georg  Biihler  of  Vienna.  By  Edward  Delavan 
Perry,  Ph.D.,  Professor  of  Greek  in  Columbia  College,  New  York, 
1885.  8vo.  xii  + 230  pages.  Mailing  price,  $1.60. 

This  book  is  an  attempt  to  combine  Professor  Biihler's  admirable  practical  exercises  in 
translating  from  Sanskrit  into  English  and  from  English  into  Sanskrit,  with  the  systematic 
exposition  of  the  Grammar  as  given  by  Professor  Whitney.  To  this  end,  the  Leitfaden 
has  really  been  rewritten.  An  introduction  has  been  added,  giving  a general  view  of  the 
structure  of  the  language ; and  the  exercises  have  been  somewhat  abbreviated.  Care  has 
been  taken  to  retain  nothing  but  what  would  meet  the  real  needs  of  a beginner;  and 
regard  has  been  had  for  those  who  may  take  up  the  study  without  a teacher.  The  book 
has  sufficient  vocabularies. 


Kaegi's  Rigveda. 

The  Rigveda:  the  oldest  literature  of  the  Indians.  By  Adolf  Kaegi, 
Professor  in  the  University  of  Zurich.  Authorized  translation  [from 
the  German],  with  additions  to  the  notes,  by  Robert  Arrowsmith, 
Ph.D.  1886.  8vo.  Cloth,  viii  + 198  pages.  Mailing  price,  $ 1.65. 

This  work  treats  of  Vedic  literature  and  exegesis,  of  the  Vedic  people,  and  of  Vedic 
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of  the  V'edic  religious  thought;  of  the  Vedic  divinities;  of  the  Vedic  beliefs,  especially 
the  belief  in  immortality;  of  Vedic  secular  poetry;  etc.  The  notes  (pages  95-180)  com- 
prise a very  full  explanatory,  justificative,  and  bibliographical  comment  upon  the  main  body 
of  the  book. 


Hopkins's  Religions  of  India. 

The  Religions  of  India.  By  Edward  Washburn  Hopkins,  Pro- 
fessor of  Sanskrit  in  Yale  University.  1895.  i2mo.  Cloth,  xvi 
-1-612  pages.  Mailing  price,  $2.00. 

This  is  the  first  of  Professor  Morris  Jastrow’s  Series  of  Handbooks  on  the  History  of 
Religions.  The  book  gives  an  account  of  the  religions  of  India  in  the  chronological 
order  of  their  development.  The  point  of  view  is  chiefly  historical  and  descriptive,  but 
the  causes  leading  to  the  successive  phases  of  religious  belief  are  kept  prominently  before 
the  reader.  A new  feature  of  this  book,  as  compared  with  the  one  work  that  has  preceded 
it  on  the  same  lines,  Barth’s  Religions  of  India,  is  the  constant  employment  of  illustrative 
material,  drawn  from  the  original  sources.  Copious  extracts  are  given  from  Vedic,  Brah- 
manic,  Jain,  Buddhistic,  and  later  sectarian  literatures.  The  volume  contains  also  a full 
description  of  the  modern  sects  of  to-day,  a chapter  on  the  religions  of  the  wild  tribes, 
and  one  on  the  relations  between  the  religions  of  India  and  those  of  the  West.  The 
book  is  supplied  with  index,  map,  and  a substantial  bibliography. 

3 


Philadelphia  Oriental  Studies. 

Oriental  Studies.  A selection  of  the  papers  read  before  The  Oriental 
Club  of  Philadelphia,  1888-1894.  Boston,  1894.  8vo.  Cloth.  278 
pages.  Mailing  price,  $2.00. 

The  volume  contains  thirteen  papers.  Among  them  are  three  that  have  to  do  with 
Indie  studies : The  Physical  Geography  of  India,  by  Professor  M.  W.  Easton ; the  Holy 
Numbers  of  the  Rigveda,  by  Professor  E.  W.  Hopkins ; The  Aryan  Name  of  the  Tongue, 
by  Professor  H.  Collitz. 

Jacksons  A vest  a Grammar. 

An  Avesta  Grammar  in  comparison  with  Sanskrit.  By  A.  V. 
Williams  Jackson,  Professor  of  Indo-Iranian  Languages  in  Columbia 
College,  New  York  City.  Part  I. : Phonology,  Inflection,  Word- 

Formation.  With  an  introduction  on  the  Avesta.  1892.  8vo.  Cloth, 
xlviii  + 273  pages.  Mailing  price,  $2.20. 

The  introduction  gives  a lucid  account  of  the  Avesta  and  of  Avestan  studies,  of  the 
contents  and  character  of  the  Avesta,  of  the  religion  of  Zoroaster,  etc.  In  the  treatment 
of  the  language,  constant  reference  is  made  to  the  Sanskrit  and  to  Whitney’s  grammar. 

Jacksons  Avesta  Reader. 

Avesta  Reader:  First  Series.  Easier  texts,  notes,  and  vocabulary. 
By  A.  V.  Williams  Jackson.  1893.  8vo.  Cloth,  viii-f  112  pages. 
Mailing  price,  1^1.85. 

The  selections  include  passages  from  Yasna,  Visparad,  Yashts,  and  Vendidad,  and  the 
text  is  based  on  Geldner’s  edition.  The  book  is  intended  for  beginners. 

Other  Avestan  IVorks. 

A Hymn  of  Zoroaster:  Yasna  31.  Translated  with  comments  by  A. 
V.  Williams  Jackson.  1888.  8vo.  xii  + 62  pages.  Paper,  cut. 
Mailing  price,  $1.05. 

Text  and  translation  are  on  opposite  pages.  Commentary  follows.  An  introduction 
on  method,  and  full  indexes  are  given. 

The  Avestan  alphabet  and  its  transcription.  By  A.  V.  Williams 
Jackson.  With  appendices.  1890.  8vo.  Paper.  36  pages.  Mail- 
ing price,  80  cents. 

Discusses  the  Avestan  alphabet  paleographically  and  phonologically,  and  proposes  a 
scheme  of  transliteration,  which  has  since  been  sanctioned  by  Brugmann. 


4 


I^Iarvard  Oriental  Series. 

Edited,  with  the  cooperation  of  various  scholars,  by 


Charles  Rockwell  Lanman, 

Professor  of  Sanskrit  in  Harvard  University. 


Published  by  Harvard  University,  Cambridge,  Massachusetts, 

United  States  of  America. 


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Volume  I. — The  Jataka-mala : or  Bodhisattvavadana-mala,  by  Arya- 
9ura  ; edited  by  Dr.  Hendrik  Kern,  Professor  in  the  University  of 
Leiden,  Netherlands.  1891.  Royal  8vo.  Cloth,  xiv+254  pages. 

This  is  the  editio  princeps  of  a collection  of  Buddhist  stories  in  Sanskrit.  The  text 
is  printed  in  Nagari  characters.  An  English  translation  of  this  work,  by  Professor 
Speyer  of  the  Netherlandish  University  of  Groningen,  has  been  published  in  the 
Bijdragen  tot  de  taal-,  land-,  'en  volkenkunde  van  Nederlandsch  Indie.  The  same 
version  has  also  appeared  in  revised  form  in  Professor  Max  Muller’s  Sacred  Books  of 
the  Buddhists,  London,  Henry  Frowde,  1895. 

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5 


Morgenlandes,  vol.  ix.,  Leipzig,  Brockhaus,  1889.  “In  spite  of  all  the  false  assumptions 
and  the  errors  of  which  Vijnanabhiksu  is  undoubtedly  guilty,  his  Commentary  ...  is 
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India  has  produced.”  — Editor's  Preface. 

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doctrine  of  Karma  and  rebirth,  and  with  the  scheme  of  salvation  from  misery.  Chapter  i. 
gives  the  account  of  the  previous  existences  of  Gotama  Buddha  and  of  his  life  in  the 
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Here  for  the  first  time  in  the  history  of  Indian  philology  we  have  the  text  of  a 
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already  made  his  authority  upon  this  subject  of  the  very  highest.  The  proofs  have  had 
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In  preparation. 

The  Atharva  Veda  Sanhita,  translated  into  English,  with  a full  critical 
and  exegetical  commentary,  by  the  late  William  Dwight  Whitney, 
Professor  of  Sanskrit  in  Yale  University.  Edited  by  Charles  Rock- 
well Lanman,  Professor  of  Sanskrit  in  Harvard  University.  Royal 
8vo.  Cloth. 

An  announcement  as  to  this  great  work,  with  a full  statement  (from  which  this  is 
taken)  of  its  plan,  scope,  and  contents,  was  made  by  the  author  in  the  Journal  of  the 
American  Oriental  Society.,  volume  15,  page  clxxi,  April,  1892.  The  plan  includes,  in 

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the  first  place,  critical  notes  upon  the  text,  giving  the  various  readings  of  the  manu- 
scripts, and  not  alone  of  those  collated  by  Whitney  in  Europe,  but  also  of  those  of  the 
apparatus  used  by  S.  P.  Pandit  in  the  great  Bombay  edition.  Second,  the  readings  of 
the  Paippalada  or  Cashmere  version,  furnished  by  the  late  Professor  Roth.  Further, 
notice  of  the  corresponding  passages  in  all  the  other  Vedic  texts,  with  report  of  the 
various  readings.  Further,  the  data  of  the  Hindu  scholiast  respecting  authorship, 
divinity,  and  meter  of  each  verse.  Also,  references  to  the  ancillary  literature,  especially 
to  the  well-edited  Kau(;ika  and  Vaitana  Sutras,  with  account  of  the  ritualistic  use 
therein  made  of  the  hymns  or  parts  of  hymns,  so  far  as  this  appears  to  cast  any  light 
upon  their  meaning.  Also,  extracts  from  the  printed  commentary.  And,  finally,  a 
simple  literal  translation,  with  introduction  and  indices. 

We  may  perhaps  add  that  the  critical  commentary  has  been  made  the  most 
important  feature  of  the  work.  No  account,  at  once  so  systematic,  extensive,  and 
complete,  of  the  critical  status  of  any  Vedic  text  has  ever  been  undertaken  before; 
and  the  material  is  here  presented  in  just  such  thoroughly  lucid,  orderly,  and  well- 
digested  form  as  the  previous  works  of  its  lamented  author  would  lead  us  to  expect. 
Its  publication  will  — as  we  hope  — mark  a new  epoch  in  the  history  of  Vedic  criticism. 
To  the  student  of  folk-lore,  and  of  primitive  religions,  the  translation  itself  will  offer 
abundant,  interesting,  and  important  material. 

Buddha-ghosa’s  Way  of  Purity  ( Visuddhi-magga),  a systematic  treatise 
of  Buddhist  doctrine  by  Buddha-ghosa  (about  400  A.D.) : critically 
edited  in  the  original  Pali  by  Henry  Clarke  Warren,  of  Cambridge, 
Massachusetts.  Brought  out  after  his  death  by  Charles  Rockwell 
Lanman. 

The  “Way  of  Purity,”  which  has  been  for  fifteen  centuries  one  of  the  “books 
of  power”  in  the  East,  is,  as  Childers  says,  “a  truly  great  work,  written  in  terse  and 
lucid  language,  and  showing  a marvelous  grasp  of  the  subject.”  Mr.  Warren’s  plan 
was  to  publish  a scholarly  edition  of  the  Pali  text  of  the  book,  with  full  but  well-sifted 
critical  apparatus,  a complete  English  translation,  an  index  of  names,  and  other  useful 
appendices,  and  to  trace  back  to  their  sources  all  the  quotations  which  Buddha-ghosa 
constantly  makes  from  the  writings  of  his  predecessors.  The  text,  it  is  hoped,  may  be 
published  without  too  much  more  labor.  Of  the  translation  about  one-third  is  made ; 
and  it  has  been  determined  to  complete  the  version  and  publish  it  as  soon  as  is  feasible. 

Mr.  Warren  died  in  January,  1899,  in  the  forty-fifth  year  of  his  age.  Accounts 
of  his  life  and  work  may  be  found  in  the  (New  York)  Nation  for  Jan.  12,  1899 ; in  the 
Harvard  Graduates'  Magazine  for  March,  1899;  in  the  Journal  of  the  Royal  Asiatic 
Society  for  April,  1899  (with  a list  of  his  writings);  in  the  (Chicago)  Open  Court  for 
June,  1899;  or  in  the  Journal  of  the  American  Oriental  Society,  vol.  xx.,  second  half. 


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A Vedic  Concordance : being  an  alphabetic  index  to  every  line  of  every 
stanza  of  every  hymn  of  the  published  Vedic  literature,  and  to  every 
sacrificial  and  ritual  formula  thereof.  By  Maurice  Bloomfield,  Pro- 
fessor of  Sanskrit  and  Comparative  Philology  in  Johns  Hopkins 
University. 

The  conception  of  the  plan  of  this  work  dates  back  to  the  year  1892,  when  two  sepa- 
rate announcements  of  it  were  published,  — one  in  the  Johns  Hopkms  University  Circulars 
(vol.  xi.,  no.  99,  June,  1892),  and  the  other  in  the  Proceedings  of  the  American  Oriental 
Society  (for  April,  1892,  Journal,  vol.  xv.,  p.  clxxiii).  It  is  nothing  less  than  an  alphabetic 
index  to  every  line  (pada)  of  every  stanza  of  the  entire  published  Vedic  literature  and  to 
every  liturgical  formula  (yajus,  praisa,  etc.)  therein  contained.  In  brief,  it  is  a Concord- 
ance to  the  Vedic  Mantras.  It  will  enable  the  student  of  the  Vedas  to  see  at  a glance 
every  occurrence  of  a given  text  (verse  or  formula)  in  the  whole  Vedic  literature  and  to 
ascertain  with  ease  the  liturgical  uses  of  that  text.  Among  the  many  uses  of  this  collection 
the  following  may  be  mentioned  : — 

First,  it  will  serve  as  a register  of  the  varietas  lectionis  for  the  texts  of  the  Vedic  litera- 
ture. The  individual  passages  appear  in  different  Vedic  texts,  often  in  different  form,  vary- 
ing more  or  less  in  the  choice  or  the  arrangement  or  the  grammatical  form  of  the  words. 

Second,  the  Concordance  will  give  the  key  to  the  liturgical  employment  of  every 
Mantra  as  prescribed  by  the  ceremonial  books.  It  will  thus  become  possible  greatly  to 
advance  our  knowledge  of  the  hymns  and  the  ceremonies  in  their  relation  to  one  another. 
The  text  and  the  liturgical  action  that  accompanied  it  often  serve  as  a mutual  commentary 
each  to  the  other,  that  yields  us  a clear  understanding  of  both. 

Third,  the  future  editor  of  a Vedic  text  will'  find  in  a complete  assemblage  of  all  the 
Mantras  an  auxiliary  of  the  very  first  importance.  In  the  constitution  of  a Vedic  text,  the 
Mantras  are  the  most  intractable  part  of  the  material  concerned,  because  they  are  written 
in  a dialect  which — differing,  as  it  does,  considerably  from  the  classical  speech  — was 
imperfectly  understood  by  the  scribes.  Since  much  of  the  material  of  this  kind  with  which 
the  future  editor  will  have  to  deal,  is  quite  certain  (as  experience  shows)  to  be  contained 
in  the  literature  previously  published,  it  is  obvious  how  serviceable  the  Concordance  will 
be  in  the  establishment  of  the  new  texts. 

This  work,  moreover,  will  be  most  useful  in  determining  the  relations  of  the  different 
Vedic  schools  (qdkhas')  to  one  another.  And  divers  subsidiary  uses  of  such  a collection 
as  this  will  .suggest  themselves  to  various  scholars.  Thus  the  initial  words  of  the  several 
Mantras  form  by  themselves  a very  considerable  part  of  a word-index  to  the  Mantras. 
And,  again,  the  great  frequency  with  which  the  Mantras  begin  with  the  name  of  a divinity, 
incidentally  makes  the  book  a most  useful  tool  for  the  student  of  the  Vedic  mythology  and 
religion. 


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